歹托邦（dystopia）是烏托邦的反義詞，希臘語的字面意思是“不好的地方”。與理想中那種完美的境域完全相反，歹托邦乃指極端惡劣的社會形態。西方作家創作了很多有關歹托邦的虛構作品，多是描繪反人性的極權政府和高科技畸形發展所導致的生態災難。此類作品的故事背景多設定在未來，旨在警示世人關注現實世界中有關社會制度、環境保護、道德倫理和科學技術方面的問題。1868年，約翰·密爾（John S. Mill）在英國下議院發表演講時首次使用了“歹托邦”一詞，他指責政府的愛爾蘭土地政策說，“把它稱作烏托邦也許過於褒獎，我看稱其為歹托邦才恰如其分。我們常用烏托邦指稱某些太美好而難以實現的事情，但這個現行的政策實在不好，它根本是行不通的。”1 1、See https://en.wikipedia.org/wiki/Dystopia
胡主席這一唯物主義的宣稱明快而爽利，誰都知道，他的馬列主義行話只是層稀薄的面紗。當主持人告訴胡主席聽眾一共提了七十多個問題時，他有點羞澀地微笑了一下，接著撒嬌地說，那他就來回答所有的問題，今天就不走了。幽了這唯一的一默，胡主席隨即跟車隊疾馳而去，把他從來也沒打算回答的問題統統留給了耶魯人莫可名狀的疑惑。因此，在列舉出中國人權狀況繼續惡化的事例後，曾擔任克林頓人權助理，現任法學院院長的Harold Koh措詞強烈地說道：“我們不得不問這位中國領導人一個問題：Who are you ？我們確實很想知道。” Harold Koh的問題不由得令人聯想到歷史系名牌教授史景遷那本題為The Question of Hu的著作。是的，胡的問題的確是很嚴重的，史學家史景遷和法學家Harold Koh都解決不了。但Harold Koh想要弄清的問題，有一部分，雷文校長已對記者講得十分清楚。校長說他知道人權惡化的情況，但他認為中國政府會加以改善。他也希望實現表達的自由，但發展經濟應該優先。校長的思路顯然代表了美國朝野相當大一批“唯物主義者”官民的思路。正是在這一交點上，極權政府和民主共和政府取得了物質利益上的互惠。而來耶魯舉行這場告別的文化儀式，不過演一幕曲終奏雅的典禮罷了。胡主席最後宣布今年夏天邀請一百名耶魯師生訪問中國，全場響起熱烈的掌聲，很多人躍躍欲試，說不定連校狗bulldog都可能隨團而行。
‘Every doctor aspires to be a little like Sacks whether for his sharp intellect, his obvious humanity or his exquisite writings that go to the core of what it means to be human and frail.’ Photograph: Adam Scourfield/BBC/AP Photo/AP
Like millions of readers I had a lump in my throat as I read Oliver Sacks reveal his diagnosis of terminal cancer earlier this year. Every doctor aspires to be a little like Sacks whether for his sharp intellect, his obvious humanity or his exquisite writings that go to the core of what it means to be human and frail.
In February he calmly declared that metastatic melanoma affecting his liver meant that his luck had run out. I found it hard to share his calm but then like the genial, grandfather-figure he is, he reassured us, oncologists and all, that he still felt intensely alive, wanting to “deepen my friendships, to write more, to achieve new levels of understanding and insight.”
His mention of finding a new focus and perspective resonated with me – it is as close to a universal finding as there is in clinic, where ordinary individuals and famous people all say that cancer forced them to contemplate their life and legacy.
It’s not always pretty, I concede. Cancer triggers joyful marriage but also bitter divorce. It unites bickering siblings but also tears apart those previously contented. It fosters a peaceful reckoning and loving coexistence but equally tempestuous anger and unrelenting sorrow. All I can say is letting go is hard. Actually, it sucks. Watching the march of thousands of such patients, I keep thinking it must be indescribably difficult to bear if it is so difficult just to watch from the vantage point of an unrelated oncologist, who at best catches only glimpses of the struggle patients face every day.
The lump in my throat grew larger this weekend when Oliver Sacks declared that his disease had inevitably returned despite liver embolization and immunotherapy, the holy grail of melanoma treatment. Oh no, I thought glumly, not you too, as if the greatness of being Oliver Sacks were enough to outsmart rapidly dividing melanocytes. Sadly no. The venerable figure that he is, I can just about picture him telling a group of despondent young residents that it would be naive to think that a terminally ill doctor might avoid the fate of many of his patients.
Oliver Sacks dying of metastatic melanoma may have been just another story of misfortune in a world spilling over with bad news were it not for something that caught my eye towards the middle of his column. He lists symptoms of nausea, loss of appetite, chills and sweats and a pervasive tiredness, all cardinal signs of worsening cancer. He tells us he is still managing to swim although the pace is slower as he pauses to breathe. And then, he says something utterly obvious and yet, thoroughly remarkable: “I could deny it before but I know I am ill now.”
In a piece of achingly beautiful writing, this observation may bypass the typical outsider but as an oncologist, it struck me as the essence of what it takes to die well – the concession that all the well-intentioned therapy in the world can no longer prevent one from going down the irreversible trajectory of death.
This recognition allows patients to halt toxic treatment, opt for effective palliation and articulate their goals for the end of life. It permits their oncologist to open up new conversations that don’t include the latest million-dollar blockbuster therapy with a bleak survival curve but do mention the therapeutic benefit of teaming up with hospice workers to write letters, preserve photos and record memories. I would say that this candid admission from a patient is the difference between bemoaning death as a medical failure and viewing life as a welcome gift.
He had determined that there was to be no conversation about her progressive cancer or the fact that she lay dying. Her experience was unacceptable yet the impasse dreadful and ethically troubling.I found myself thinking of a former patient who came into hospital dying of liver failure from metastatic bowel cancer. Her jaundiced skin was practically glowing and she had a resulting insatiable itch. There was not a single comfortable position she could find and it soon became clear that that she needed continuous sedation for comfort. But before I sedated her I needed to be sure that she understood her terminal condition, difficult given that the liver failure was causing agitation. The problem was that her husband was permanently stationed at her bedside and would not hear of me mentioning any bad news to the patient.
One morning her husband was delayed but she needed urgent attention so I walked in alone to find a clearly distressed patient. Looking surreptitiously around the room, and temporarily alert, she whispered, “What is happening to me?”
I sat down and held her hand, noting a trail of bleeding scratch marks.
“Do you want me to tell you?”
Before she could answer, her husband roared from behind me, “How dare you plot to scare my wife like that in my absence? Get out!”
As I covered my ears against the litany of abuse, the patient’s terrorised eyes briefly rested on mine. Sorry, they seemed to say, I am really sorry. Refusing to be mollified by the palliative care staff the man virtually dragged his dying wife home. He made a mockery of her end of life care and left me with a searing memory of my failure to help a dying patient. But I also try to remember that he loved her and just couldn’t bear the thought of letting her go. Letting go is hard.
Doctors fail patients in various ways but in some ways it is easier to fail patients when they or their family deny impending death. They are the ones who deserve our greatest consideration and patience but the truth is that it’s taxing enough to treat intractable pain, omnipresent nausea or pervasive melancholy without having to take on the onerous task of saying, “Believe me, you really are dying.”
Unlike suturing or locating a pulse, dealing with death does not become easier with time. If you care about your patient, it always hurts. It hurts when you fail to cure them and it hurts when you fail to help them die. Patients who can get even part of the way to acknowledging their mortality ultimately do themselves, their relatives and even their oncologists an untold favour.
But of course, it’s one thing to understand your mortality and quite another to articulate your feelings for the world to scrutinise. At his diagnosis Oliver Sacks wrote, “I cannot pretend I am without fear. But my predominant feeling is one of gratitude.” Those insightful words brought inspiration to untold patients.
But the doctor who brought to us the man who mistook his wife for a hat isn’t about to mistake death for what it is. Now he reminds us with all the poise and dignity we have come to expect of him that there is value in embracing our mortality, that there is an art to dying, and before he goes, he might just show us how. For this and so much more, we owe him.
When Oliver Sacks was twelve years old, a perceptive schoolmaster wrote in his report: “Sacks will go far, if he does not go too far.” It is now abundantly clear that Sacks has never stopped going. From its opening pages on his youthful obsession with motorcycles and speed, On the Move is infused with his restless energy. As he recounts his experiences as a young neurologist in the early 1960s, first in California, where he struggled with drug addiction and then in New York, where he discovered a long forgotten illness in the back wards of a chronic hospital, we see how his engagement with patients comes to define his life.
With unbridled honesty and humor, Sacks shows us that the same energy that drives his physical passions—weightlifting and swimming—also drives his cerebral passions. He writes about his love affairs, both romantic and intellectual; his guilt over leaving his family to come to America; his bond with his schizophrenic brother; and the writers and scientists—Thom Gunn, A.R. Luria, W.H. Auden, Gerald M. Edelman, Francis Crick—who influenced him. On the Move is the story of a brilliantly unconventional physician and writer—and of the man who has illuminated the many ways that the brain makes us human.
Oliver Sacks is a practicing physician and the author of twelve books, including The Mind’s Eye, Musicophilia, The Man Who Mistook His Wife for a Hat, and Awakenings (which inspired the Oscar-nominated film). He lives in New York City, where he is a professor of neurology at the NYU School of Medicine.
Oliver Sack’s An Anthropologist on Mars, Awakenings, Hallucinations, The Island of the Colorblind, The Mind’s Eye, Musicophilia, Seeing Voices, and Uncle Tungsten are available in Vintage paperback, as is Vintage Sacks, a collection of his finest work.
//薩克斯自傳以 "On The Move” 為題明志，取自友人 Thom Dunn 同名詩作，首次披露私人生活。絕少讀者猜得出，封面像香煙廣告模特兒的美男子，就是大鬍子醫生。筆者問過幾位朋友，全未聽說過薩克斯是同性戀者；更難想像，一生投身腦科學的紐約大學教授，當年曾沉迷健身，創下深蹲舉重 600 磅的加州紀錄。身在嬉皮士年代的加州，腦科學家不諱言經常進行精神科藥物實驗，曾有四年廢寢忘食，「被腦部的快感中心操縱」。薩克斯自言「大情大性，為一切愛好投入激烈的熱情，絕不保留」，青春的狂燄曾經燃燒過甚麼，相信自傳難以盡錄。//
//大鬍子薩克斯醫生 Oliver Sacks 著作等身，以敏銳的筆觸和深邃的關懷，重現神經心理學案例中每一個人的生命和思想世界，揭示大腦和思維之間的奧秘，成為家傳戶曉的暢銷書作者及腦科學家。如今滿臉祥和，受千萬讀者愛戴的他，自少嚮往到處闖盪的自由和力拔山河的強壯。那位愛在週未換上黑色皮褸，讓「地獄天使」車黨也視為一伙的年青醫生，18 歲前往牛津就讀前換來第一部鐵騎；試車時老爺車突然鎖起油門，才知道掣動器也失修。他寧願沿途高呼讓路，在敦倫的攝政公園繞圈至燃油秏盡，也不肯將車拉倒停下來。//
我叔叔雅茨查克在感冒大流行那幾個月曾和爸爸一同照顧病人。第一次世界大戰一結束，他就投身放射醫學。爸爸告訴我說，有了X光的神力，叔叔的診斷如虎添翼，即使是最小的病理變化也察覺得出來，真是明察秋毫。 叔叔的診療室，我曾去過幾次。叔叔會讓我看他的儀器，並為我介紹這些東西的用途。早期的X光機，X射線管是露出來的，現在則看不到了，置於一個突出長長的且隆起一塊的黑色金屬盒--這東西狀似巨鳥鳥喙，看來很可怕，像會把人吃了似的。雅茨查克叔叔帶我去他的暗房，看他沖洗剛剛照的X光片。暗房幽暗，只留一盞紅色的燈。我看到大大的片子上顯露出股骨（大腿骨）的輪廓。那地方看起來幾乎是半透明的，很美。叔叔指出骨頭上有一條髮絲般細的灰線，那就是骨折的地方。 叔叔說：「你在鞋店看過X光屏了吧。這東西可以透視你鞋子下的腳骨活動起來如何[3]。我們也可用特別的顯影對比劑來看看身體的其他組織--神奇吧？」 他又說：「你還記得做機械工人的史匹格曼先生嗎？你爸爸懷疑他可能有胃潰瘍，要他來我這兒做檢查。我打算給他吃『鋇餐』。你想看看嗎？」 「我們用的是硫酸鋇，」叔叔一面說一面攪拌一種白白的黏稠狀的液體，解釋說：「這是因為鋇離子很重，X射線幾乎無法穿透，因此可做為造影劑。」聽他這麼一說，我不禁異想天開，問道可不可以用更重的離子，讓病人吃「鉛餐」、「汞餐」或者「鉈餐」--這些離子都重得不得了，當然也有致命之虞。「金餐」或「鉑餐」也很有意思，不過可能太貴了，教人吃不起。我問道：「『鎢餐』如何？鎢的原子比鋇重多了，而且鎢沒有毒，也不貴。」 我們進入診療室，叔叔將我介紹給史匹格曼先生。他記得看過我，一個禮拜天早晨，我陪爸爸出診的時候。「他不正是薩克斯醫師最小的兒子奧立佛，想當科學家的那一個？」叔叔請史匹格曼先生在X光機和螢光屏的中間站好，請他吃下「鋇餐」。史匹格曼先生用湯匙把那白色黏稠狀的液體送入口中，吞下去。我們盯著螢光屏。鋇劑從他喉嚨下去，進入食道之後，可以看到他腸胃道慢慢蠕動，把鋇劑推到胃裡。我從陰森森的背景看到史匹格曼的肺，那肺隨著每一次呼吸擴張、收縮。最令人害怕是，有一個袋子在他的體內悸動。叔叔說，這就是心臟。 有時，我不禁好奇，這種射線是不是像另一種感官。媽媽告訴我，蝙蝠會發出超音波，昆蟲能看到紫外光，響尾蛇則有紅外線感受器。此時此刻，看著史匹格曼的五臟六腑被「X光之眼」的透視下無所遁形，我很慶幸自己的眼力不像什麼都能看透的X光。由於人體的自然設計，我們只看得到某個波長範圍內的光。 雅茨查克叔叔就像大偉舅，對摯愛之物的理論基礎和歷史發展都很有興趣。他有一個小小的「博物館」，收藏了舊的X光機、陰極射線管，還有三支在一八九○年代用的、長長的、易碎的射線管。他說，早期的管子沒有考慮到放射線的防護，其實那時世人也還不了解放射線的危險。 然而他又說，X光問世才幾個月，就傳出有人受到傷害的消息。發明消毒劑、開啟無菌外科手術紀元的李斯特(Joseph Lister, 1827-1912)早在一八九六年就對大眾提出警告，可惜大家充耳不聞[4]。 顯然，X射線有強大的能量，而且能產生熱能。從另一方面來看，儘管X射線有穿透力，穿透空氣的距離仍然有限，不像無線電波，可以用光速的速度越過海峽。電波也是有能量的。這種射線是可見光的親戚，但很奇特，能讓人形消骨毀。我陷入奇想：小說家威爾斯(H. G. Wells, 1866-1946)是否因為這種射線得到靈感，讓他的小說《星際戰爭》(The War of the Worlds)中的火星人使用熱線槍大肆殺戮。這本書的問世只是比倫琴發現X射線晚兩年而已。威爾斯描述火星人的熱線「像鬼魅一樣」、「像隻隱形的、熾熱的指頭」、「看不見的熱武器，讓人無處可逃」。用拋物鏡反射出來的熱線，可熔化鐵和玻璃、把鉛塊變成液體、讓水爆炸在剎那間化為蒸氣。威爾斯又說，那熱線越過鄉間的速度「飛快如光」。
“I had intended, towards the end of 1997, to write a book on aging, but then found myself flying in the opposite direction, thinking of youth, and my own partly war-dominated, partly chemistry-dominated youth, in particular, and the enormous scientific family I had grown up in. No book has caused me more pain, or given me more fun, than writing Uncle T.–or, finally, such a sense of coming-to-terms with life, and reconciliation and catharsis.” -- Oliver Sacks on "Uncle Tungsten"
Long before Oliver Sacks became a distinguished neurologist and bestselling writer, he was a small English boy fascinated by metals–also by chemical reactions (the louder and smellier the better), photography, squids and cuttlefish, H.G. Wells, and the periodic table. In this endlessly charming and eloquent memoir, the author of The Man Who Mistook His Wife for a Hat and Awakenings chronicles his love affair with science and the magnificently odd and sometimes harrowing childhood in which that love affair unfolded. In Uncle Tungsten we meet Sacks’ extraordinary family, from his surgeon mother (who introduces the fourteen-year-old Oliver to the art of human dissection) and his father, a family doctor who imbues in his son an early enthusiasm for housecalls, to his “Uncle Tungsten,” whose factory produces tungsten-filament lightbulbs. We follow the young Oliver as he is exiled at the age of six to a grim, sadistic boarding school to escape the London Blitz, and later watch as he sets about passionately reliving the exploits of his chemical heroes–in his own home laboratory. Uncle Tungsten is a crystalline view of a brilliant young mind springing to life, a story of growing up which is by turns elegiac, comic, and wistful, full of the electrifying joy of discovery. Read an excerpt here: http://ow.ly/yhxCT
"My own first love was biology. I spent a great part of my adolescence in the Natural History museum in London (and I still go to the Botanic Garden almost every day, and to the Zoo every Monday). The sense of diversity—of the wonder of innumerable forms of life—has always thrilled me beyond anything else." -- Oliver Sacks
Dubbed “the poet laureate of medicine” by The New York Times, Oliver Sacks is a practicing neurologist and a mesmerizing storyteller. His empathetic accounts of his patients’s lives—and wrily observed narratives of his own—convey both the extreme borderlands of human experience and the miracles of ordinary seeing, speaking, hearing, thinking, and feeling. Vintage Sacks includes the introduction and case study “Rose R.” from Awakenings (the book that inspired the Oscar-nominated movie), as well as “A Deaf World” from Seeing Voices; “The Visions of Hildegard” from Migraine; excerpts from “Island Hopping” and “Pingelap” from The Island of the Colorblind; “A Surgeon’s Life” from An Anthropologist on Mars; and two chapters from Sacks’s acclaimed memoir Uncle Tungsten.
"In a Station of the Metro" by Ezra Pound (1885-1972)
The apparition of these faces in the crowd; Petals on a wet, black bough.
*
Simple yet capable of great complexity, the haiku is a tightly structured verse form that has a remarkable power to distill the essence of a moment keenly perceived. For centuries confined to a small literary elite in Japan, the writing of haiku is now practiced all over the world by those who are fascinated by its combination of technical challenge, expressive means, and extreme concentration. This anthology brings together hundreds of haiku by the Japanese masters–Basho, Issa, Buson, Shiki–with superb examples from nineteenth- and twentieth-century writers. The pioneering translator R. H. Blyth believed that the spirit of haiku is present in all great poetry; inspired by him, the editor of this volume has included lines from such poets as Wordsworth, Keats, Tennyson, Thoreau, and Hopkins, presented here in haiku form. Following them are haiku and haiku-influenced poems of the twentieth century–from Ezra Pound’s “In a Station of the Metro” to William Carlos Williams’s “Prelude to Winter,” and from the irreverence of Jack Kerouac to the lyricism of Langston Hughes. The result is a collection as compact, dynamic, and scintillating as the form itself. READ more here: http://www.penguinrandomhouse.com/…/haiku-by-peter-washing…/
Presents the life and discusses the works of the controversial and influential American poet and critic.
關於作者 (1987)
Peter Ackroyd was born in London in 1949. He graduated from Cambridge University and was a Fellow at Yale (1971-1973). A critically acclaimed and versatile writer, Ackroyd began his career while at Yale, publishing two volumes of poetry. He continued writing poetry until he began delving into historical fiction with The Great Fire of London (1982). A constant theme in Ackroyd's work is the blending of past, present, and future, often paralleling the two in his biographies and novels. Much of Ackroyd's work explores the lives of celebrated authors such as Dickens, Milton, Eliot, Blake, and More. Ackroyd's approach is unusual, injecting imagined material into traditional biographies. In The Last Testament of Oscar Wilde (1983), his work takes on an autobiographical form in his account of Wilde's final years. He was widely praised for his believable imitation of Wilde's style. He was awarded the British Whitbread Award for biography in 1984 of T.S. Eliot, and the Whitbread Award for fiction in 1985 for his novel Hawksmoor. Ackroyd currently lives in London and publishes one or two books a year. He still considers poetry to be his first love, seeing his novels as an extension of earlier poetic work.
Ezra Pound in London, in 1918. T. S. Eliot called him “the better craftsman.”
PHOTOGRAPH BY HARRY RANSOM CENTER / UT-AUSTIN
Ezra Pound turns up five times in Peter Gay’s big survey of the modern movement in literature and the arts, “Modernism: The Lure of Heresy”—once in connection with T. S. Eliot’s “The Waste Land” (which Pound edited), once as the author of an anti-Semitic sentiment (one of many), and three times as the originator of the slogan “Make It New” (which suits the theme of Gay’s account). Pound’s poetry and criticism are not discussed; no reader of Gay’s book would have any idea of what his importance or influence as a writer might be. Gay’s is a commodious volume with a long reach, “From Baudelaire to Beckett and Beyond”; still, a handful of passing references seems a sharp decline in market value for a writer who was once the hero of a book called “The Pound Era.”...
Parts of “The Pisan Cantos” have been read as a recantation:
“Master thyself, then others shall thee beare”
Pull down thy vanity
Thou art a beaten dog beneath the hail,
A swollen magpie in a fitful sun,
Half black half white
Nor knowst’ou wing from tail
Pull down thy vanity
How mean thy hates
Fostered in falsity,
Pull down thy vanity,
Rathe to destroy, niggard in charity,
Pull down thy vanity,
I say pull down.
This may sound repentant, but it is not the poet speaking to himself in the second person. The lines are addressed to the American Army (“Half black half white”): the prisoner is raging against his captors. Pound laments, but he does not regret. “The Pisan Cantos” is a Fascist poem without apologies...
Poet Ezra Pound won the inaugural Bollingen Prize on this day in 1949 for "The Pisan Cantos". David Moody has written of the "disruptive, regenerative force of his genius"
Samuel Johnson, often referred to as Dr. Johnson, was an English writer who made lasting contributions to English literature as a poet, essayist, moralist, literary critic, biographer, editor and lexicographer.Wikipedia
Samuel Johnson, often referred to as Dr. Johnson, was an English writer who made lasting contributions to English literature as a poet, essayist, moralist, literary critic, biographer, editor and lexicographer. Wikipedia Born: September 18, 1709, Lichfield, United Kingdom Died: December 13, 1784, London, United Kingdom Spouse: Elizabeth Johnson (m. 1735–1752) Influenced by: Alexander Pope, John Milton, Thomas Browne, William Wollaston Quotes Patriotism is the last refuge of a scoundrel. When a man is tired of London, he is tired of life; for there is in London all that life can afford. He who makes a beast of himself gets rid of the pain of being a man.
Samuel Johnson - Google Doodle Samuel Johnson - Google Doodle Samuel Johnson’s 308th Birthday Johnson was an English writer and critic, and one of the most f...
2004 『JohnHale《文藝復興時代的歐洲文明》（The Civilization of Europe in the Renaissance）賈士蘅譯，台北：國立編譯館，2000。
這是一本了不起的、感人的書。作者JohnHale是當代英文界文藝復興時代的歐洲史的專家，立志寫一本媲美上世紀J.Burkhardt『義大利的文藝復興時代的文明（The Civilization of the Renaissance in Italy）』的作品（台北：黎明和北京：商務各有譯本）。原作者繳出手稿後嚴重中風，由太太及友人完成。圖文並茂。
RICHARD MIDDLETON著《殖民時代的美國史1607-1760》賈士蘅譯.，國立編譯館，1998.
◎台北：天下文化公司。 傅高義(Vogel, Ezra F.), 1992[1991]，《躍升中的四小龍( The Four Little. Dragon: The Spread of Industrialization in East Asia)》，賈士蘅譯，台北：天下文化公司。 《無限影響力-公關的藝術》 ( POWER AND INFLUENCE) 等
注說它是莎士比亞{第十二夜}中一比喻，我查出： pined in thought, And with a green and yellow melancholy She sat like patience on a monument, Smiling at grief. . . .
Twelfth Night: Act II, scenes iii–iv 「像是墓碑上刻著”忍耐”的化身，默坐著向悲哀微笑。」（朱生豪） 學生參考書說法：“Patience on a monument” refers to statues of the allegorical figure of Patience, which often adorned Renaissance tombstones. By comparing her imaginary sister to this stone figure, Viola subtly contrasts her own passion with the self-indulgent and grandiose lovesickness from which Orsino claims to suffer.
“To ensure that he won, he submitted to games only where he could dictate the rules.” ―from TITAN: The Life of John D. Rockefeller, Sr. by Ron Chernow
John D. Rockefeller, Sr.--history's first billionaire and the patriarch of America's most famous dynasty--is an icon whose true nature has eluded three generations of historians. TITAN is the first full-length biography based on unrestricted access to Rockefeller's exceptionally rich trove of papers. A landmark publication full of startling revelations, the book will indelibly alter our image of this most enigmatic capitalist. Born the son of a flamboyant, bigamous snake-oil salesman and a pious, straitlaced mother, Rockefeller rose from rustic origins to become the world's richest man by creating America's most powerful and feared monopoly, Standard Oil. Branded "the Octopus" by legions of muckrakers, the trust refined and marketed nearly 90 percent of the oil produced in America. Rockefeller was likely the most controversial businessman in our nation's history. Critics charged that his empire was built on unscrupulous tactics: grand-scale collusion with the railroads, predatory pricing, industrial espionage, and wholesale bribery of political officials. The titan spent more than thirty years dodging investigations until Teddy Roosevelt and his trustbusters embarked on a marathon crusade to bring Standard Oil to bay. While providing abundant new evidence of Rockefeller's misdeeds, Chernow discards the stereotype of the cold-blooded monster to sketch an unforgettably human portrait of a quirky, eccentric original. A devout Baptist and temperance advocate, Rockefeller gave money more generously--his chosen philanthropies included the Rockefeller Foundation, the University of Chicago, and what is today Rockefeller University--than anyone before him. Titan presents a finely nuanced portrait of a fascinating, complex man, synthesizing his public and private lives and disclosing numerous family scandals, tragedies, and misfortunes that have never before come to light. John D. Rockefeller's story captures a pivotal moment in American history, documenting the dramatic post-Civil War shift from small business to the rise of giant corporations that irrevocably transformed the nation. READ an excerpt here:http://knopfdoubleday.com/book/26804/titan/
原書"Titan:The Life of John D. Rockefeller, Sr." By RON CHERNOW Random House 1998
這 本書"font-weight: bold;"紐約時報選為"編輯選的年度10大好書"書評說This book is a triumph of the art of biography. Unflaggingly interesting, it brings John D. Rockefeller Sr. (1839-1937) to life through sustained narrative portraiture of the large-scale, 19th-century kind.
The Nancy Brown affair wasn't the only indignity visited upon Eliza, for she was often abandoned by Bill during her three cheerless years in Richford. He remained a restless and defiant individualist who preferred life beyond the pale of society. 黑體字的中文翻譯為：「寧可在暗淡的社會階層討生活」其實beyond the pale 指的是形為無法讓世人接受（If someone's behaviour is beyond the pale, it is unacceptable）。
另一例： The next morning, when they invited him to church, Big Bill had to resort to some fancy footwork, for he always shied away from crowds where somebody might recognize him and expose his imposture 這裡的footwork，或許是一雙關語（pun），而不只是footwork (球類、拳擊、舞蹈等的)步法,腳步動作,腳下功夫;(新聞記者的)奔波採訪。the way in which the feet are used in sports or dancing, especially when it is skilful
某一翻譯者對peregrination一字（a long journey in which you travel to various different places, especially on foot），喜用「出外冶遊來」來表示。不過，它原沒有中文的意思—這是他父親的一神秘處，不宜讓讀者有其他"道德影射"。「冶遊」的解釋為：少女春遊。樂府詩集˙卷四十四˙清商曲辭一˙無名氏˙子夜四時歌˙春歌二十首之九： 冶遊步春露，豔覓同心郎。 狎妓。唐˙李商隱˙蝶詩三首之三： 見我佯羞頻照影，不知身屬冶遊郎。
另一比較重要的一慣用語為幽~用語be conspicuous by your absence：刻意的缺席或不聞問（MAINLY HUMOROUS to be absent when you should be present, in a way that other people notice: ）書中的原文為 In this period of Eliza's marriage, Mr. Davison is conspicuous by his absence, leaving one to wonder whether he had temporarily washed his hands of his disobedient daughter or whether, cowed by guilt and embarrassment, she had hidden her troubles from him. 希望讀者試在首章中找出中文。
附錄：推荐文討論：Simon U 謝謝廖月娟女士的下文貢獻…… ***** hc:余玉照洛克斐勒家族的信條 這篇很有參考價值。不過，我對下兩小段的翻譯有點問題，請comment。
They point the way to usefulness and happiness in life, to courage and peace in death. 這些信條指示我們一條活得快樂有用、死得勇敢安詳的道路。
These are the principles, however formulated, for which all good men and women throughout the world, irrespective of race or creed, education, social position, or occupation, are standing, and for which many of them are suffering and dying. 不管如何陳述，這些就是全世界所有善良的男女，不分種族、信仰、教育、地位或職業，所共同支持的原則，為了這些原則，他們當中許多人正在熬受苦難或死亡。
They point the way to usefulness and happiness in life, to courage and peace in death. 這些信條指示我們一條活得快樂有用、死得勇敢安詳的道路。
---- Comment：不算大錯，可再琢磨。
我的解讀： 1) courage和peace in death是兩回事。 2) usefulness除了「有用」、「實用」，也可做「精采」。 The American Heritage Book of English Usage. 1996
...the term stands as a highly successful language reform—probably because people value its usefulness. As a courtesy title, Ms. serves exactly the same function as...
改譯： 這些信條指引我們如何活得精采、活得快樂，如何生出勇氣，且如何安詳地離開人世。
These are the principles, however formulated, for which all good men and women throughout the world, irrespective of race or creed, education, social position, or occupation, are standing, and for which many of them are suffering and dying.
Rolling Stone is an American biweekly magazine that focuses on popular culture. It was founded in San Francisco in 1967 by Jann Wenner, who is still the ... First issue: November 9, 1967; 49 years ago Founder: Jann Wenner, Ralph J. Gleason Publisher: Jann Wenner Company: Wenner Media LLC
The Dhammapada: The Path of Perfection. Anonymous; Juan Mascaro (Paperback ed.). Penguin Classics. (May 30, 1973). ISBN0-14-044284-7.
Dhammapada: The Sayings of the Buddha. Shambhala Pocket Classics. Thomas Byrom (Paperback ed.). Shambhala. (November 9, 1993). ISBN0-87773-966-8.
The Dhammapada: The Sayings of the Buddha. John Ross Carter; Mahinda Palihawadana (Paperback ed.). Oxford University Press. (December 15, 2008). ISBN978-0-19-955513-0.
The Dhammapada. Classics of Indian Spirituality. Eknath Easwaran (Paperback ed.). Nilgiri Press. (April 13, 2007). ISBN978-1-58638-020-5.
The Dhammapada: A New Translation of the Buddhist Classic with Annotations. Gil Fronsdal (Paperback ed.). Shambhala. (December 5, 2006). ISBN1-59030-380-6.
Availability of English translations (Print:): Scores of English translations exist. The following are particularly recommended: Dhammapada: A Translation, Thanissaro Bhikkhu, trans. (Barre: Dhamma Dana Publications, 1998), The Dhammapada: The Buddha's Path of Wisdom, Acharya Buddharakkhita, trans. (Kandy: Buddhist Publication Society, 1996), and The Dhammapada: Pali Text and Translation with Stories in Brief and Notes, Narada Thera, trans. (Buddhist Missionary Society, India, 1978; available from Pariyatti Books). 目錄
A Comparative Edition of the Dhammapada. with parallels from Sanskritised Prakrit edited together with. A Study of the Dhammapada Collection. by. Ānandajoti Bhikkhu (2nd revised edition July, 2007 - 2...
2015.9.19 2000年是Antoine Saint-Exupéry百年祭 : the French aristocrat, writer and pioneering aviator Antoine de Saint-Exupéry (1900–1944). 他的所有作品似乎都有漢譯了 (台灣也如此).
***** 這可能是法國式怨偶. 一般外人很難想像如此婚姻關係: After his disappearance, Consuelo de Saint Exupéry wrote The Tale of the Rose, which was published in 2000 and subsequently translated into 16 languages.[100]
Consuelo and Antoine de Saint-Exupéry met in Buenos Aires in 1930—she a seductive young widow, he a brave pioneer of early aviation, decorated for his acts of heroism in the deserts of North Africa. He was large in his passions, a fierce loner with a childlike appetite for danger. She was frail and voluble, exotic and capricious. Within hours of their first encounter, he knew he would have her as his wife.
Their love affair and marriage would take them from Buenos Aires to Paris to Casablanca to New York. It would take them through periods of betrayal and infidelity, pain and intense passion, devastating abandonment and tender, poetic love. The Tale of the Rose is the story of a man of extravagant dreams and of the woman who was his muse, the inspiration for the Little Prince’s beloved rose—unique in all the world—whom he could not live with and could not live without.
***** 有空應該重溫這小王子的天真 (2010)
Spotlight:
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'Le Petit Prince'
What is the name of the tiny planet in the book 'The Little Prince'? The planet — or asteroid — is named B-612; it had reportedly once been seen through a telescope by a Turkish astronomer. Antoine de Saint-Exupéry, the aviator and author of Le Petit Prince (The Little Prince), was born on this date in 1900. Saint-Exupéry combined his love of flight with his love of writing to compose the tale of an aviator who meets the diminutive ruler of the smallest planet in the solar system. One of literature's most famous allegories about the importance of innocence and love, Le Petit Prince was written in the 1940s, during World War II. Saint-Exupéry had fled from France to New York. His yearning for a more idyllic time and for his home is evident in the book.
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Quote:
"It is only with the heart that one can see rightly, what is essential is invisible to the eye."— Antoine de Saint-Exupery
永遠的《小王子》
閱讀ADRIENNE GAFFNEY2014年02月13日
摩根圖書館的「《小王子》：一個紐約故事」(The Little Prince: A New York Story)展揭示出這部法語經典之作鮮為人知的紐約根源，探索這部看似簡單實則意味深長的童書的起源。
Graham S. Haber, courtesy of the estate of Antoine de Saint-Exupéry
摩根圖書館的「《小王子》：一個紐約故事」(The Little Prince: A New York Story) 展揭示出這部法語經典之作鮮為人知的紐約根源，探索這部看似簡單實則意味深長的童書的起源。20世紀40年代初，法國被德國佔領期間，該書作者、飛行員安 托萬·德·聖-埃克蘇佩里(Antoine de Saint-Exupéry)流亡到美國。他住在曼哈頓，專心寫一個故事：一個陷入困境的飛行員與一個來自他世的小男孩之間的友誼。他在中央公園南邊和比 克曼社區的家中、長島的一個避暑地和一個朋友在第52街的工作室寫作和繪製《小王子》。那個工作室後來變成了法國餐館La Grenouille。這部簡練的中篇小說去年4月迎來了誕生70周年紀念，是法國被閱讀最多的作品。這部小說正被改編成一部即將上映的3D動畫電影，由 瑞秋·麥克亞當斯(Rachel McAdams)、詹姆斯·弗蘭科(James Franco)和瑪麗昂·歌迪亞(Marion Cotillard)配音。但是紐約對這本書不可否認的影響力卻很少被探究。聖-埃克蘇佩里在紐約的那些年很重要，因為那是他最後的日子。1943年，在 《小王子》的第一批書上架之後一周，他乘船重返戰場，回到他的偵察小組。臨走前，他匆忙地把這本書的手稿送給紐約的一個朋友，作為告別禮物。一年後，在巴 黎解放前幾周，他的飛機在地中海上空失蹤。人們一直沒有找到他的屍體。摩根的展覽展出了少數幾本有他簽名的《小王子》中的一本，以及他失蹤那段時間所佩戴 的身份腕帶，上面刻有他的名字以及他的出版商在紐約的地址。
安托萬·德·聖-埃克蘇佩里1944年在撒丁島。
John Phillips, courtesy of the John and Annamaria Phillips Foundation
When we got married, my husband and I knew we didn’t want to do anything elaborate: we had neither the money nor the inclination and, in any case, we wanted to get the wedding over with and begin the marriage. (Proper weddings, as any bridal magazine will tell you, take months of preparation.) So: we agreed on a date, got our license, I bought a suit, and we went to City Hall with our siblings and our two dearest friends.
After the ceremony, we took the subway uptown and met our families for lunch. I’d booked the upstairs dining room of a venerable French restaurant because I knew the food would be good, and everyone would feel comfortable. Like everything else about the wedding, I must admit I didn’t give it too much thought; I knew the day would be nice no matter what and, for my life’s sake, very much hoped it would not be the most important.
But when people asked me where we were planning to have the lunch, and I told them, their eyes would light up. “But you know The Little Prince was written there!” they would say in delight. “How romantic! How perfect!” It was true: Saint-Exupery had written the iconic book while staying in what was then an artist friend’s atelier during the war—in the very space that is now the restaurant’s upstairs dining room.
And we would smile and say, yes, what luck, we weren’t even thinking of that!
Because the secret truth is, we have both always hated The Little Prince. Its whimsy and passion-play significance had always left my fiancé cold; I found the isolation of the book’s landscape deeply scary. Besides, I’ve never liked anything set in space. I’d read it as a child, of course, and later in French class, and I had watched the creepy cartoon version with a sort of horrified fervor. But my feeling had always been one of active aversion—the last theme I’d ever have chosen for a wedding. It’s not the sort of thing one takes pleasure in disliking; the love people feel for that book is pure and real, and if I could love it, I would. I think we both feel that way; we certainly laughed ruefully together about the coincidence. (To the extent that people laugh ruefully in real life, that is.)
At a certain point before the wedding, I found myself in a bookstore, and I thought, I’d better get a copy of The Little Prince. I thought it would be funny to produce it amid the toasts and read a quote aloud—the sort of cheesy quote people put on their yearbook pages or on tote bags—and we’d tell everyone about our shared aversion to the book, and it would be charming and irreverent and show how well matched we were, or something. It wouldn’t be a real reading—that would be something of great significance, and very personal and surprising, and maybe unsentimental. I bought it, and I stuck it in my bag, and I forgot about it until the day before the wedding. I read it through that night.
I had it in my bag—the bag with my makeup and my bouquet and my ID—and when I stood up, my hands were shaking. Here is the part I read:
The little prince went away, to look again at the roses.
“You are not at all like my rose,” he said. “As yet you are nothing. No one has tamed you, and you have tamed no one. You are like my fox when I first knew him. He was only a fox like a hundred thousand other foxes. But I have made him my friend, and now he is unique in all the world.”
And the roses were very much embarrassed.
“You are beautiful, but you are empty,” he went on. “One could not die for you. To be sure, an ordinary passerby would think that my rose looked just like you—the rose that belongs to me. But in herself alone she is more important than all the hundreds of you other roses: because it is she that I have watered; because it is she that I have put under the glass globe; because it is she that I have sheltered behind the screen; because it is for her that I have killed the caterpillars (except the two or three that we saved to become butterflies); because it is she that I have listened to, when she grumbled, or boasted, or ever sometimes when she said nothing. Because she is my rose.
And he went back to meet the fox.
“Goodbye,” he said.
“Goodbye,” said the fox. “And now here is my secret, a very simple secret: It is only with the heart that one can see rightly; what is essential is invisible to the eye.”
“What is essential is invisible to the eye,” the little prince repeated, so that he would be sure to remember.
“It is the time you have wasted for your rose that makes your rose so important.”
“It is the time I have wasted for my rose—” said the little prince, so that he would be sure to remember.
“Men have forgotten this truth,” said the fox. “But you must not forget it. You become responsible, forever, for what you have tamed. You are responsible for your rose …”
“I am responsible for my rose,” the little prince repeated, so that he would be sure to remember.
And by the end, of course, I was crying.
Sadie Stein is contributing editor of The Paris Review, and the Daily’s correspondent.
Ninety-Three (Quatrevingt-treize)[1] is the last novel by the French writer Victor Hugo. Published in 1874, shortly after the bloody upheaval of the Paris Commune, the novel concerns the Revolt in the Vendée and Chouannerie – the counter-revolutionary revolts in 1793 during the French Revolution. It is divided into three parts, but not chronologically; each part tells a different story, offering a different view of historical general events. The action mainly takes place in Brittany and in Paris.
他的推動力在我的生命史上留下了三個清楚的印跡,我必須藉這個機會說出來,作為我們相交四十五年的一個紀念。第一是他主編《中國文化中的飲食》（Food in Chinese Culture）這部書。他在研究生時期便一再提到要和我合作,結合考古學、人類學與史學,最早曾建議合寫中國的節日,如中秋、端午之類。但當時各自有更急迫的研究計劃在手,此事終無下文。
第二件事 是我從哈佛轉到耶魯。我是一九六六年回到哈佛任教的,至一九七七年已十一年,早已定居下來,根本沒有想到還會移動,光直可以說是我到耶魯的最大原動力。一九七六年耶魯中國史教授萊特（Arthur F. Wright）突然去世,光直便想把我搬過去。他一方面向我重申合作之議,另一方面大概也努力說服了歷史系的史景遷（Jonathan Spence）,由他出面和我正式接洽。詳情在此沒有細說的必要,總之,我最後之所以動念,和光直共事合作確是一個重大的誘因。但是我完全不曾想到,就在同時,哈佛人類學係也在積極進行把光直請回來。等到我知道這件事時,我和耶魯的商談差不多已至最後階段,不便出爾反爾了。我和耶魯歷史系、東亞系的同仁都無深交,光直是我惟一的熟朋友。如果早知道光直可能離開,我大概從頭便不會考慮耶魯的事了。最後我們兩人只好同意各自做抉擇,結果則是我去他來,移形換位。這是一個巧得不能再巧的陰錯陽差,大概只有佛教“緣”之一字可以解釋:我們沒有共事的緣分。
答：這個問題很難一概而論。我在中國考古現場的時間並不多，發掘技術、研究手段大都是從報告里間接得來的，所以只能談一點感受。就技術說，美國的技術固然也有應用的多少和好壞之分，但最好的技術比我們要多，也比較細，因此古代的信息遺漏的少。在過去，我們的發掘不篩土，不用浮選法，所以土壤中很多寶貴的資料都丟掉了。近幾年來，中國考古學者認識到篩土和浮選法的重要性，已經開始在做。研究的方法也很難一概而論，只能說我們還是使用四十年代以前的方法，就是類型學和地層學。中國考古學者對類型學和地層學的著重是完全合理的，但除此之外，國外還有許多方法。中國從五十年代起跟西方的科學基本隔絕，而六、七十年代西方在考古技術方法上的變化最大。因此研究方法上應該多向他們學習，還要注意棄其糟粕，取其精華。比如說用人類學的材料作考古學的比較研究，是很重要的方法。中國學者也用這個方法，但用起來比較原始。就是拿人類學的材料和在考古遺址裡發現的在現像上一致的材料做對比，如果相似，就說我們的古代民族也可作如此解釋。但是我們知道，同樣形式的東西，在社會中不一定扮演同樣的角度。所以要使用人類學的材料，必須先把它在現代民族的社會裡的角度了解清楚，換言之，要對它做一番功能性系統性的研究，這樣才能把它跟古代社會裡的各方面契合(articulate)起來。把所解釋的對象與它的社會環境和文化環境廣泛的聯繫起來，解釋的說服力就增強了。國內的很多研究是作一個陳述，即make a statement。就是說A就是B，而缺乏進一步的證明。研究的根據往往是馬、恩的唯物史觀的教條，這當然也是我們的考古和社會科學的研究不被信任的原因之一。作一個陳述容易，比如說某器物是做什麼用的，某個社會是母系社會等，但這還不夠，還要做進一步的證明。要把研究對象的特徵和文化社會的接觸點都找出來，接觸點越多，就越令人信服。
答：“前事不忘，後事之師。”從中國考古學過去幾十年的變化，我們可以預料二○五○年的中國考古學會和今天有很大不同。至少有以下幾點可以相信：一，一定有很多新材料出來；二，新材料裡一定有許多現在根本想不到的東西；三，外國人對中國的考古學比較重視；中國學者對世界的考古學也應有更多的了解，會打破閉門不出的習慣；四，今後五十年要討論的很多問題，會集中到中國的新材料對世界歷史法則的貢獻上，並且已有初步的收。我們現在要做的事情，就是要敞開心胸(keep an openmind)，不輕易下結論，還要給假說以足夠的彈性。給歷史搭架子，不要用鋼筋水泥，要用塑膠。這不是投機取巧，沒有原則，而是對史料的信任和信心；也是對我們解釋能力的客觀評價。我們的真理是相對真理，只能向著絕對真理的目標去，現在還不可能達到這個目標。我想假如老師有這個態度，同學有這個態度，一代代的學者都有這個態度，中國考古學的發展就會快一些。根據現在的材料，做一個硬梆梆的鋼筋水泥般的結論，就會成為進步的絆腳石。最後，我想對我這一輩的考古學家說，放鬆一點(relax)；對年輕人要說，你的前途實在光明，學考古有福啦！
Responding to resurgent interest in nineteenth-century French painting--with its rich connections to revolutionary politics, exoticism, romance, and nationalism--Barthélémy Jobert offers this long-awaited, first comprehensive book on one of the period's greatest and most elusive artists: Eugtne Delacroix (1798-1863). This solitary genius produced stormy, romantic works like The Death of Sardanapalus and then turned to more classically inspired paintings, such as Liberty Leading the People--a fact that has never been fully explained. In this visually compelling tribute to the artist, however, Jobert explores the driving inner tensions and contradictions behind both Delacroix's life and work. Jobert not only re-creates the political and cultural arenas in which Delacroix thrived, but also allows readers a rare opportunity to appreciate the full range of his artistic production. Delacroix's large canvases, decorative cycles, watercolors, and engravings, which are widely dispersed throughout the world, are beautifully represented here in 231 color plates. The book is timed to commemorate the bicentenary of Delacroix's birth.
Traditionally described as an artistic loner, Delacroix profoundly influenced later painters such as Cézanne and Picasso. An image of the artist as a man of his times comes to light, however, as Jobert reveals the ways in which Delacroix successfully navigated a career within the Salon system and through government commissions. Delacroix socialized with George Sand and Victor Hugo, engaged Baudelaire and Gauthier in intense philosophical discussions about art, and maintained a lively interaction with the press. As a passionate artist who sought to make money in a politically volatile climate, Delacroix managed to create works that transcended the ideology of his government connections.
Delacroix's famous trip to Morocco, which had the ironic outcome of directing his attention away from Romanticism and back toward his classical roots, is analyzed in detail. Considering both Delacroix's training and sources of inspiration, Jobert shows how the Moroccan journey led the artist to a balanced approach to his art: the classical tradition he had never totally abandoned was permanently combined with the Romanticism of his youth. Over the long span of his career, Delacroix responded to the literary fascination with Orientalism, the politics of the Restoration and French imperialism, and popular interest in travel and documentation. He painted everything from sweeping epic tales to intimate interiors. Only now has the scope and scale of Delacroix's oeuvre come to life in a detailed and up-to-date account for the specialist and general reader alike.
第104-05頁兩圖：剛好是阿邦請我們看的兩部戲：Macbeth and the Witches, 1825; Mephistopheles Appears before Faust, 1826-27
In this highly original book Norman Bryson applied 'structuralist' and 'post-structuralist' approaches to French Romantic Painting. He considers the work of David, Ingres and Delacroix as artists who found themselves within an artistic tradition that had nothing creative to offer them.
Bourbon Restoration
In a symptom of the political tone of the Bourbon Restoration, the returning exile, the prince de Condé took possession, and rented to the Chamber of Deputies a large part of the palace. The palace was bought outright from his heir in 1827, for 5,250,000 francs [1]. The Chamber of Deputies was then able to undertake major work, better suiting the chamber, rearrangement of access corridors and adjoining rooms, installation of the library in a suitable setting, where the decoration and one of the salons were entrusted to Delacroix, later a Deputy himself. The pediment was re-sculpted by French artist Jean-Pierre Cortot.
德拉克洛瓦（ De·la·croix (Ferdinand Victor) Eugène 1798–1863 / French painter. Delacroix is considered the foremost painter of the romantic movement in France; his influence as a colorist is inestimably great）。
本書分「（俄文版）前言」；「藝術（家）評論」（包括「藝術評論」、「拉斐爾」、「米開朗琪羅」、「蒲熱 Puget, Pierre , 1622–94, French painter and sculptor. http://www.answers.com/Pierre%20Puget 」、「普呂東*（pp.68-90 Prud'hon, Pierre Paul , 1758–1823, French painter）」、「格羅Gros, Antoine-Jean, Baron , 1771–1835, French painter. http://www.answers.com/Antoine-Jean%20Gros%20」、「論素描教學」、「普桑」、「論美」、「美的多樣性」、「夏勒Charlet, Nicolas Toussaint (nēkôlä' tūsăN' shärlā') , 1792–1845, French lithographer and painter. http://www.answers.com/topic/nicolas-toussaint-charlet?」等）和「德拉克洛瓦生前未曾公布的資料」（這包括些短篇妙文，譬如說「紀念拜倫爵士（第三卷）」，或許可以說，他們是19世紀的「自卑情結」之兩例？）兩部，據說是德拉克洛瓦的遺囑執行者庇隆，從畫家所發表的文章中，選出最有意思的與最可靠的整成。
不過，德拉克洛瓦生前未曾公開的大量日記和文論，都很精彩，很有歷史之參考價值【英文也是很晚才有翻譯： Delacroix's enormous involvement in contemporary artistic and intellectual life is recorded in his journal, kept from 1823 to 1854 (tr. by W. Pach, 1937, repr. 1972; selections tr., 1980, 1995). 】。現在，只有專家才討論的湯姆·羅倫斯（Lawrence, Sir Thomas 1769–1830 http://www.answers.com/topic/thomas-lawrence?），本書都有所討論。【英國大出版社T-H公司，有一每年藝術學講座紀念其創辦人，在十幾年前，有一年出版專論他之小書。】
他主要的想法是：藝術家之所有品質中最重要的，是由其本人賦予作品的，而不是諸如風格等等說法。
我以前對於中國人接觸西方美術史有興趣。以前不容易看到畫家（德拉克洛瓦
等）的真蹟【 hc案：何況有些建築物之完整壁畫，無法辦展覽…….現在，Liberty Leading the People (1831).或許成為普遍印刷品】，徐悲鴻先生是例外之一，所以會有類似「（向）德拉克洛瓦《希阿島屠殺》【hc案：The Massacre of Chios (1824 (Louvre). )】的致敬」之旁人說法。又如：「在浪漫主义美术的首领德拉克洛瓦那里，色彩和主观表达的可能已得到了充分的体现，他以色彩和块面来反对学院派古典主义的素描和线条，以光与色的对比来反对学院派古典主义的平面性，这就大大增强了绘画的表现性和独立性，使人们看到，除素描之外，色彩本身就具有独立的表现力。」（『印象派在中国』網路上作者匿名？）
Gérald Morin, Federico Fellini's former assistant, returns to Rome's Cinecittà to explore the great filmmaker's work. Along with a number of Fellini's colleagues, he discusses the Golden Age of Italian cinema which now holds a particular place in our collective subconscious.
━━ n.【スコットランド伝説】（夜間に農家の手伝いなどする）小妖精; 〔米〕 ピーナツ入り板チョコ［クッキー］; 〔米〕 （B-） （ガールスカウトの）幼年団員 （Brownie Guide）.Image may be NSFW. Clik here to view.Brownie points ブラウニー点 ((ガールスカウトの幼年団員がよいことをした時に与えられる点；ごますりでもらう評点)).考績點數(始於女幼童軍Brownies頒贈點數獎勵的制度)
板チョコレートa chocolate bar.
費里尼（Federico Fellini, 1920-93）和伊塔羅．卡爾維諾（Italo Calvino , 1923-1985）是20世紀意大利的兩位電影和文學名家。我只知道他們有一次交集：卡爾維諾撰《觀眾回憶錄》，作為費里尼著《虛構的筆記本：費里尼塗鴉》（FARE UN FILM(1980)，倪安宇譯，台北．商務印書館，1997）的前言。
這種「對．話．錄」，或許值得仿照．因此寫品質世界的無名讀者回憶錄：Armand V. Feigenbaum
Federico Fellini, whose deeply personal films were vivid, sometimes bizarre portraits of the human condition, died yesterday at the Umberto I Hospital in Rome. He was 73. The cause was cardiac arrest, the Reuters news agency reported, citing Dr. Maurizio Bufi, the chief of the hospital's intensive care unit. Mr. Fellini had suffered a stroke in August and had been in a coma since he had what has been variously described as a heart attack or heart failure on Oct. 17. Reuters said his condition deteriorated in the last hours before his death, and he developed a high fever and kidney problems. Four of Mr. Fellini's movies won Oscars for best foreign-language film: 'La Strada' in 1956, 'The Nights of Cabiria' in 1957, '8 1/2' in 1963 and 'Amarcord' in 1974. In March, he received an honorary Oscar in recognition of his cinematic accomplishments as a director and screenwriter. Before his heart trouble laid him low this year, the director had reportedly been making plans to begin work on his 21st feature film next year, 'Block Notes of a Director: The Actor.' Throughout his career, Mr. Fellini focused on his personal vision of society and his preoccupation with the relationships between men and women and between sex and love. An avowed anticleric, he was also deeply concerned with guilt and alienation. Fellini films are spiced with artifice (masks, masquerades and circuses), startling faces, the rococo and the outlandish, the prisms through which he sometimes viewed life. But as Vincent Canby, the chief film critic of The New York Times, observed in 1985, 'What's important are not the prisms, though they are arresting, but the world he shows us: a place whose spectacularly grand, studio-built artificiality makes us see the interior truth of what is taken to be the 'real' world outside, which is a circus.' The concepts of all Fellini movies originated in the mind of 'the Maestro,' as his associates and compatriots fondly called him, in his memories, dreams, fantasies and fancies. He was often the protagonist of his films, and his most celebrated alter ego was Marcello Mastroianni, in 'La Dolce Vita,''8 1/2' and 'City of Women.' Mr. Fellini wrote all his scripts, usually with two dialogue writers, and supervised every creative detail, including the final editing. He was a perfectionist who repeatedly reshot many scenes in a process that usually took two years. He kept producers away from his films until they were completed, explaining: 'I do not need a producer. I need only a good production manager. I need only a man who will give me money.' Devoted to Movies, Not to Commerce He studied his own movies many times but seldom saw other movies, saying that most of them reflected commerce rather than art. His devotion to movies over money was reflected in his uncommon willingness to surrender a large share of the potential profits from many of his films to their financial backers. He likened his craft to applying a thermometer to a troubled world and finding a high fever. 'I'd like very much to make a confident picture,' he once told an interviewer. 'I would like to be as good as nature, which with a shower produces flowers and grass to cover the destruction. But we are surrounded by human fragmentation, by pessimism, and it is difficult to talk of other things.' Mr. Fellini said he sought to liberate viewers from 'overidealized concepts of life.' In a lighter vein, he remarked, 'I make pictures to tell a story, to tell lies and to amuse.' Over the decades, Fellini films became increasingly original and subjective, and consequently more controversial and less commercial. His style evolved from neo-realism to fanciful neo-realism to surrealism, in which he discarded narrative story lines for free-flowing, freewheeling memoirs. He described his approach in this way: 'When I start a picture, I always have a script, but I change it every day, I put in what occurs to me that day, out of my imagination. You start on a voyage; you know where you will end up, but not what will occur along the way. You want to be surprised.' His life centered on film making. 'When I am not making movies,' he confided, 'I feel I am not alive.' A Series of Scenes Difficult to Forget Fellini movies have many unexpected and indelible sequences. 'La Dolce Vita' opens with a huge statue of Jesus, with arms outstretched, being towed inexplicably by a helicopter above the rooftops of Rome. The film '8 1/2' ends with a quixotic film director leading all his contentious associates, real and imagined, alive and dead, in a dance of joyful reconciliation. 'I Vitelloni' ('The Loafers'), the third feature he directed, is an autobiographical tragicomic tale of five provincial youths who punctuate their aimless street life with pranks. 'La Dolce Vita' is a sensational and sobering scan of the decadent 'sweet life' of Rome's cafe society, with its sexual promiscuity, search for exotic gratification and consuming boredom. The film shocked many Italians and was proscribed by the Roman Catholic Church, but it became a huge success in Italy and around the world. 'La Strada' ('The Road'), is a poetic tragedy about a simple-minded waif who serves as the clown, cook and concubine for a boorish, brutish strongman. 'The Nights of Cabiria' deals with a sentimental, eternally hopeful prostitute who wistfully dreams of romance and respectability. Mr. Fellini's most clearly autobiographical confession, '8 1/2,' is an innovative romantic satire-fantasy about an egomaniacal film maker's moral and creative midlife crisis, his malaise and inability to make a movie. He titled it '8 1/2' because it was his seventh directorial feature in addition to three short films. It was his favorite movie. 'Amarcord' ('I Remember') is a paean to youth and the memories of a year in the life of a provincial Italian town in the 1930's. Many Movies, Even More Awards In addition to Oscars, Fellini movies won hundreds of awards, including many top citations at international film festivals and five first prizes from the New York film critics. His other movies, also with evocative scores by Nino Rota, include 'Juliet of the Spirits' (1965), his first color feature, which centers on a neglected wife obsessed by dreams and spirits; 'Fellini Satyricon' (1969), an epic of decadence and the wanderings of a homosexual youth in ancient Rome's disintegrating society; 'The Clowns'(1970), and 'Fellini's Roma' (1972). Others were 'Fellini's Casanova' (1976), a spectacular but joyless saga of the 18th-century philanderer's conquests across Europe; 'Orchestra Rehearsal' (1979), the most political Fellini film, which uses an orchestra as a metaphor for a fragmenting society, and 'City of Women' (1979), a feminist fantasy in which the hero searches incorrigibly for the perfect woman. Later films also include 'And the Ship Sails On' (1983), a flamboyant succession of mostly comic commentaries on art and self-absorbed artists; 'Ginger and Fred' (1986), whose central characters are an Italian dance couple who chose their names in honor of the American dance team and who are reunited on a television variety show, and 'Intervista' (1987), a mock documentary described by Mr. Canby in a review as 'a magical mixture of recollection, parody, memoir, satire, self-examination and joyous fantasy.' 'Tutto Fellini,' a retrospective of his films, started on Friday and is to continue through Dec. 21 at Film Forum in Greenwich Village. Scoffed at Questions About Meaning Mr. Fellini was impatient with interviewers who suggested that his films had been inspired by works he had not read and who pressed him with questions about the meanings of his imagery. 'Meaning, always meaning!' he scoffed. 'When someone asks, 'What do you mean in this picture?,' it shows he is a prisoner of intellectual, sentimental shackles. Without his meaning, he feels vulnerable.' Admirers said Fellini films were resplendent and exhilarating, and reflected a deepening and an enhancement of his art. They also believed that his later movies showed maturing, self-critical insights. After the mid-1960's, his films often stressed the bizarre, the garish and the grotesque. Detractors praised some sequences, but variously termed the works excessive, simplistic and self- obsessed. Nonetheless, the consensus was that he made brave and original movies about important issues. Mr. Canby praised Mr. Fellini for a dazzling inventiveness and skill and an 'insatiable curiosity about and fondness for the human animal, especially those who maintain only the most tenuous holds on their dignity or sanity.' At his top form, he 'somehow brings out the best in us,' Mr. Canby wrote. 'We become more humane, less stuffy.' Hailing Mr. Fellini's 'very special, personal kind of cinema,' the critic concluded, 'one of Fellini's greatest gifts is his ability to communicate a sense of wonder, which has the effect of making us all feel much younger than we have any right to.' Discovering Life Through Films Federico Fellini was born on Jan. 20, 1920, in Rimini, an Adriatic port and resort in north-central Italy. His upbringing was provincial, religious and middle class. His father, Urbano, was a prosperous seller of coffee and other grocery specialties whose frequent travels left his wife, Ida, as the main parent for Federico, his brother, Riccardo, and his sister, Maddalena. The film maker, fancifully recounting his youth, repeatedly told interviewers that he ran away from home at the age of 7 or 8 to join a circus, but later he smilingly acknowledged he had fabricated the brief episode 'to help journalists' explain his fascination for circuses. The youth attended religious boarding schools, where his chief talent was drawing and his chief adversaries were the rigid friars who often punished him for breaking minor rules. In 1985, he told a New York audience that his love of film making originated in Rimini's primitive movie house, which, he said, had 200 seats and standing room for 500. Of 1930's American movies, he recalled, 'I discovered there existed another way of life, a country of wide-open spaces, of fantastic cities that were a cross between Babylon and Mars.' He was speaking at a gala Fellini tribute offered by the Film Society of Lincoln Center. At the age of 17 or 18, according to his varying accounts, he left home for Florence, where he worked for several months as a proofreader and cartoonist. He went on to Rome, enrolling at the University of Rome's law school, but he did not attend classes and used his student status to avoid conscription while he worked as a cartoonist and short-story writer for a satirical publication, Marc' Aurelio. He later used his cartooning talent to draw characters and scenes for his movies. At 19, he joined a vaudeville troupe, traveling across Italy and working primarily as a gag writer while performing utility tasks. The year, he recalled, 'was perhaps the most important year of my life.' 'I was overwhelmed by the variety of the country's physical landscape and, too, by the variety of its human landscape,' he said. 'It was the kind of experience that few young men are fortunate enough to have: a chance to discover the character of one's country and, at the same time, to discover one's own identity.' Back in Rome, he wrote radio scripts and started collaborating on film scripts. In 1943, after a four-month courtship, he married the actress Giulietta Masina, later the star of many Fellini films, including 'La Strada,''The Nights of Cabiria,''Juliet of the Spirits' and 'Ginger and Fred.' She was a major inspiration for his life and work, and is his only survivor. His efforts to avoid the World War II draft appeared doomed in 1943 when he was ordered to undergo a medical examination. But according to Ephraim Katz's 'Film Encyclopedia,' his records were destroyed in a bombing. Later, by hiding in Rome's slums, he eluded German Occupation troops, who regularly searched the city for Italian men to replenish the armed forces or to toil in slave-labor camps. Present at the Start Of a Renaissance In 1944, soon after the Allies liberated Rome, he and several friends opened the Funny Face Shop, a highly prosperous arcade that provided Allied troops with caricatures, portraits, photos and voice recordings for their families. The film director Roberto Rossellini visited the shop and asked him to collaborate on a documentary about the Nazis' occupation of Rome. The venture evolved into 'Open City' (1945), a benchmark neo-realistic movie that ignited Italy's postwar film renaissance. Mr. Fellini was the assistant director of 'Open City' and a co-writer and assistant director of Mr. Rossellini's second celebrated antiwar film, 'Paisan' (1946), and his controversial religious film, 'The Miracle' (1948), in which Mr. Fellini was co-star with Anna Magnani. He also became known as Mr. Rossellini's idea man. After several stints as a co-writer or assistant director for Pietro Germi and Alberto Lattuada, Mr. Fellini made his directorial debut in 1951, collaborating with Mr. Lattuada on 'Variety Lights,' a comedy-drama about the ups and downs of a troupe of third-rate traveling vaudevillians. (It was not released in the United States until 1965.) His first solo directorial effort was the 1951 'White Sheik,' released here in 1956, a broad lampoon of Italy's adult comic-strip industry. Both movies were critical and commercial failures, but they were later re-released and praised. Determined to direct films, Mr. Fellini struggled financially to complete his next project, 'I Vitelloni,' which became a major success in Italy and abroad. He consolidated his international prestige with 'La Strada.' The film maker was an exuberant, articulate, bearlike man with an expressive face, a whimsical charm and a spontaneous, demonstrative manner. He often gestured with both hands, even while driving one of his favorite motor cars. Tolerant Overseer Of Sets of Babel On movie sets, he savored his power as the ringmaster of a Felliniesque world. Jauntily wearing a wide-brimmed, usually black hat, he dominated the scene, alternately improvising, quipping and clowning. Some directors insist on silence on the set, but he preferred a touch of chaos. He liked to shoot scenes sequentially, but he usually did not care in what language performers spoke because he dubbed most dialogue, often using other actors to do so because he believed the voices of most people did not match their looks. Over the years, he directed thousands of nonprofessional actors. He was very demanding of performers, usually cajoling them to get what he wanted, and he coaxed many professionals to give the best performances of their careers. For decades, the Fellinis had a small apartment in Rome for convenience, but their principal home was a modest seaside house he built in 1965 in the suburb of Fregene. He read widely in his youth but later concentrated on newspaper articles, which provided grist for his imagination. Asked once by a friend when he planned to take a vacation, he replied quickly: 'Making a movie is my vacation. All the rest, the traveling about to premieres, the interviews, the social life, the endless arguments with producers who don't understand me, that is the work.' He is survived by his wife. A POET WHO SANG A SONG OF HIMSELF Federico Fellini was a poet of the cinema whose work, illuminated by unforgettable images, was intensely autobiographical. These are some of his films and when they were made, followed by the dates of release in the United States.
吳密察（國立臺灣大學歷史學系兼任教授） 胡家瑜（國立臺灣大學人類學系教授） 張隆志（中央研究院臺灣史研究所副研究員、國立清華大學人文社會學院學士班主任） 費德廉（Douglas L. Fix，美國里德學院歷史系教授） Paul D. Barclay（美國拉法葉學院歷史系副教授） 松田京子（日本南山大學人文學部日本文化學科教授） 聯合推薦
《伊能嘉矩：臺灣歷史民族誌的展開》的出版讓我們看到年輕學者陳偉智近年來所下的功夫與努力。與前人的研究相較，作者在本書不但介紹這位早期「臺灣通」──伊能嘉矩的人生經歷和學術旅程，也運用其對後殖民理論之深厚理解來批判伊能歷史文化理論內涵的政治性。若想了解伊能嘉矩之雙重知識脈絡、時代背景或研究方法，本書是必讀的好作品。 作者另外的貢獻乃是讓讀者更了解自己的歷史想像（包括臺灣或原住民主體、現今的族群分類範疇、基本空間單元等）有多少還依賴著伊能嘉矩百年前所建構的殖民論述。正如作者在書尾所言，「回到伊能嘉矩的時代，是為了重新在當下透過伊能嘉矩看到我們這個時代」。──費德廉（Douglas L. Fix，美國里德學院歷史系教授）
本書是討論兼具官員、人類學家、民俗學家、歷史學家以及記者身分的伊能嘉矩之代表性傳記，是帝國研究、概念史、人類學、以及東亞史等各領域之中受到歡迎的一本新作。這本傑出的研究著作是基於仔細的、領域廣泛的第一手史料研究，而且它提出了更大的問題：包括制度化的知識以及社會界線的本質、民族以及種族間的關係。在這本書的許多優點之中，作者廣泛性的研究平衡了同情的以及批判的觀點，描繪出伊能的制度性、文學的、以及組織的臺灣原住民研究，揭示了其複雜以及重層的計畫。本書也說明了伊能如何成功扮演原住民文化報導者、日本官員、田野探查者，以及學者的多重角色，以發展其種族分類與歷史論述，至今仍影響臺灣與日本的政治與學術。伊能嘉矩模糊了官僚與學界、學術與新聞學、以及理論與實務的界線，不僅在他所屬的時代取得了成就，並且持續地影響了後來。簡單來說，伊能嘉矩的故事闡述了在帝國的年代中，現代社會學知識的政治基礎。──Paul D. Barclay（美國拉法葉學院歷史系副教授）
2004年8月，統一企業集團與安聯保險決定將統一安聯產險出售給日系千禧（Millea）控股公司旗下新加坡子公司「千禧亞洲保險公司」（Millea Asia Pte. Ltd.，簡稱Millea Asia），成為日系產險公司的海外子公司，並更名為「新安東京海上產物保險股份有限公司」（新安東京海上產險）[2]。
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He had determined that there was to be no conversation about her progressive cancer or the fact that she lay dying. Her experience was unacceptable yet the impasse dreadful and ethically troubling.I found myself thinking of a former patient who came into hospital dying of liver failure from metastatic bowel cancer. Her jaundiced skin was practically glowing and she had a resulting insatiable itch. There was not a single comfortable position she could find and it soon became clear that that she needed continuous sedation for comfort. But before I sedated her I needed to be sure that she understood her terminal condition, difficult given that the liver failure was causing agitation. The problem was that her husband was permanently stationed at her bedside and would not hear of me mentioning any bad news to the patient.