“Gertrude Stein did us the most harm when she said, ‘You’re all a lost generation.’ That got around to certain people and we all said, Whee! We’re lost. Perhaps it suddenly brought to us the sense of change. Or irresponsibility. But don’t forget that, though the people in the twenties seemed like flops, they weren’t. Fitzgerald, the rest of them, reckless as they were, drinkers as they were, they worked damn hard and all the time.” —Dorothy Parker
Dorothy Parker, 1956. At the time of this interview, Mrs. Parker was living in a midtown New York hotel. She shared her small apartment with a youthful poodle that had the run of the place and…
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"If you want to know what God thinks of money, just look at the people he gave it to." -Dorothy Parker
Fifty years after her death, Dorothy Parker, master of the one-liner, has survived better than the rest of her New Yorker set Cocktails, wit and activism: in praise of Dorothy Parker – 50 years on Fifty years after her death, this master of the one-liner has survived better than the rest of her New Yorker set, but everything you know about her is liable to… THEGUARDIAN.COM
By the time you swear you're his, Shivering and sighing, And he vows his passion is Infinite, undying - Lady, make a note of this: One of you is lying.
*
LOVE SONGS AND SONNETS includes Ronsard’s famous sonnets to Helene, Dorothy Parker’s sardonic reflections on men and Anne Bradstreet’s touching poem "To my Husband." Shakespeare is here, of course, and Burnas, whose comparison of his love to a red, red rose remains one of the most celebrated of all poetic similes. This edition also includes a variety of delights by everyone from Thomas Wyatt to Langston Hughes, from Aphra Behn to John Updike. With a Foreword by Peter Washington, and an index of first lines. READ more here: http://www.penguinrandomhouse.com/…/love-songs-and-sonnets…/#
1987 biography by Marion Meade, "Dorothy Parker: What Fresh Hell Is This?".
Marion Meade's engrossing and comprehensive biography of one of the twentieth century's most captivating women
In this lively, absorbing biography, Marion Meade illuminates both the charm and the dark side of Dorothy Parker, exploring her days of wicked wittiness at the Algonquin Round Table with the likes of Robert Benchley, George Kaufman, and Harold Ross, and in Hollywood with S. J. Perelman, William Faulkner, and Lillian Hellman. At the dazzling center of it all, Meade gives us the flamboyant, self-destructive, and brilliant Dorothy Parker.
!!!!!
If, with the literate, I am
Impelled to try an epigram,
I never seek to take the credit; We all assume that Oscar said it.
What are we to make today of this famous woman who, beginning almost a century ago, has fascinated generations with her wit, flair, talent, and near genius for self-destruction?
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“There’s a hell of a distance between wisecracking and wit.” —Dorothy Parker
The American poet, short story writer, critic and satirist was born on this day in 1893.
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Dorothy Parker (August 22, 1893 – June 7, 1967) was an American poet, short story writer, critic, and satirist, best known for her wit, wisecracks and eye for 20th-century urban foibles.
From a conflicted and unhappy childhood, Parker rose to acclaim, both for her literary output in publications such as The New Yorker and as a founding member of the Algonquin Round Table. Following the breakup of the circle, Parker traveled to Hollywood to pursuescreenwriting. Her successes there, including two Academy Award nominations, were curtailed when her involvement in left-wing politics led to a place on the Hollywood blacklist.
Dismissive of her own talents, she deplored her reputation as a "wisecracker." Nevertheless, her literary output and reputation for sharp wit have endured.
"Let there be light" is an English translation of the Hebrew יְהִי אוֹר (yehi 'or) found in Genesis 1:3 of the Torah, the first part of the Hebrew Bible. In Old Testament translations of the phrase, translations include the Greek phrase γενηθήτω φῶς (genēthētō phōs) and the Latin phrase fiat lux.
Fiat Lux: The University of California by Ansel Adams and Nancy Newhall
Dublin Core
Title
Fiat Lux: The University of California by Ansel Adams and Nancy Newhall
Creator
Ansel Adams, 1902-1984
Nancy Newhall
Source
A Centennial publication of the University of California
Publisher
New York, McGraw-Hill
Contributor
1967
Rights
Copyright has not been determined. All requests for permission to publish must be submitted in writing to the Head of Public Services, The Bancroft Library.
Ansel Adams, 1902-1984 and Nancy Newhall, “Fiat Lux: The University of California by Ansel Adams and Nancy Newhall,” UC Berkeley Library, accessed April 20, 2018, http://php.lib.berkeley.edu/omeka/items/show/447.
Both recalling his life story and recounting many of the major advances in twentieth-century science, a renowned physicist shares his autobiography through letters. Having penned hundreds of letters to his family over four decades, Freeman Dyson has framed them with the reflections made by a man now in his nineties.
‘Maker of Patterns’ Review: Numbers and Letters A great scientist traces the patterns he’s found in his youthful correspondence. By Ray MonkMarch 22, 2018 5:26 p.m. ET
In the preface to “Maker of Patterns: An Autobiography Through Letters,” he writes that, in contrast, “letters are valuable witnesses to history because they are written without hindsight.” “When I compare my memories with the letters,” he continues, “I see that I not only forget things, I also remember things that ...
The physicist and mathematician Freeman Dyson is an interesting man, and, at the age of 94, he no doubt has a fascinating story to tell about his long and productive life. This book, however, does not contain that story—at least, not all of it and not in the form that many of us would have wished. For one thing, it ends in 1978, 40 years ago, and Mr. Dyson has done a great deal since. For another, the book consists not of his recollections of his life, but rather largely of letters that he wrote to his parents between the ages of 17 and 54. In other words, it is not the long-awaited fleshing-out of the autobiographical...
Foucault's premise is that systems of thought and knowledge ("epistemes" or "discursive formations") are governed by rules (beyond those of grammar and logic) which operate beneath the consciousness of individual subjects and define a system of conceptual possibilities that determines the boundaries of thought and language use in a given domain and period.[1] Foucault also provides a philosophical treatment and critique of phenomenologicaland dogmatic structural readings of history and philosophy, portraying continuous narratives as naïve ways of projecting our own consciousness onto the past, thus being exclusive and excluding.
Foucault argues that the contemporary study of the history of ideas, although it targets moments of transition between historical worldviews, ultimately depends on continuities that break down under close inspection. The history of ideas marks points of discontinuity between broadly defined modes of knowledge, but the assumption that those modes exist as wholes fails to do justice to the complexities of discourse. Foucault argues that "discourses" emerge and transform not according to a developing series of unarticulated, common worldviews, but according to a vast and complex set of discursive and institutional relationships, which are defined as much by breaks and ruptures as by unified themes.[2]
Foucault defines a "discourse" as a 'way of speaking'.[3] Thus, his method studies only the set of 'things said' in their emergences and transformations, without any speculation about the overall, collective meaning of those statements, and carries his insistence on discourse-in-itself down to the most basic unit of things said: the statement (énoncé). During most of Archaeology, Foucault argues for and against various notions of what are inherent aspects of a statement, without arriving at a comprehensive definition.[2] He does, however, argue that a statement is the rules which render an expression (that is, a phrase, a proposition, or a speech act) discursively meaningful. This concept of meaning differs from the concept of signification:[4] Though an expression is signifying, for instance "The gold mountain is in California", it may nevertheless be discursively meaningless and therefore have no existence within a certain discourse.[5] For this reason, the "statement" is an existence functionfor discursive meaning.[6]
Being rules, the "statement" has a special meaning in the Archaeology: it is not the expression itself, but the rules which make an expression discursively meaningful. These rules are not the syntax and semantics[7] that makes an expression signifying. It is additional rules. In contrast to structuralists, Foucault demonstrates that the semantic and syntactic structures do not suffice to determine the discursive meaning of an expression.[8]Depending on whether or not it complies with these rules of discursive meaning, a grammatically correct phrase may lack discursive meaning or, inversely, a grammatically incorrect sentence may be discursively meaningful - even meaningless letters (e.g. "QWERTY") may have discursive meaning.[9] Thus, the meaning of expressions depends on the conditions in which they emerge and exist within a field of discourse; the discursive meaning of an expression is reliant on the succession of statements that precede and follow it.[10] In short, the "statements" Foucault analysed are not propositions, phrases, or speech acts. Rather, "statements" constitute a network of rules establishing which expressions are discursively meaningful, and these rules are the preconditions for signifying propositions, utterances, or speech acts to have discursive meaning. However, "statements" are also 'events', because, like other rules, they appear (or disappear) at some time.
Foucault's analysis then turns towards the organized dispersion of statements, which he calls discursive formations. Foucault reiterates that the analysis he is outlining is only one possible procedure, and that he is not seeking to displace other ways of analysing discourse or render them as invalid.[11]
Foucault concludes Archaeology with responses to criticisms from a hypothetical critic (which he anticipates will occur after his book is read).
Goethe's feeling of the difference in their thoughts and aims: Great Nature not a phantasm of her children's brains. Growing sympathy and esteem, unbroken to the end. (p. 371.)
NO. 5. PAGE 114.[371]
FRIENDSHIP WITH GOETHE.
The history of Schiller's first intercourse with Goethe has been recorded by the latter in a paper published a few years ago in the Morphologie, a periodical work, which we believe he still occasionally continues, or purposes to continue. The paper is entitled Happy Incident; and may be found in Part I. Volume 1 (pp. 90-96) of the work referred to. The introductory portion of it we have inserted in the text at page 109; the remainder, relating to certain scientific matters, and anticipating some facts of our narrative, we judged it better to reserve for the Appendix. After mentioning the publication of Don Carlos, and adding that 'each continued to go on his way apart,' he proceeds:
'His Essay on Grace and Dignity was yet less of a kind to reconcile me. The Philosophy of Kant, which exalts the dignity of mind so highly, while appearing to restrict it, Schiller had joyfully embraced: it unfolded the extraordinary qualities which Nature had implanted in him; and in the lively feeling of freedom and self-direction, he showed himself unthankful to the Great Mother, who surely had not acted like a step-dame towards him. Instead of viewing her as self-subsisting, as producing with a living force, and according to appointed laws, alike the highest and the lowest of her works, he took her up under the aspect of some empirical native qualities of the human mind. Certain harsh passages I could even directly apply to myself: they exhibited my confession of faith in a false light; and I felt that if written without particular attention to me,[372] they were still worse; for in that case, the vast chasm which lay between us gaped but so much the more distinctly.
'There was no union to be dreamed of. Even the mild persuasion of Dalberg, who valued Schiller as he ought, was fruitless: indeed the reasons I set forth against any project of a union were difficult to contradict. No one could deny that between two spiritual antipodes there was more intervening than a simple diameter of the sphere: antipodes of that sort act as a sort of poles, and so can never coalesce. But that some relation may exist between them will appear from what follows.
'Schiller went to live at Jena, where I still continued unacquainted with him. About this time Batsch had set in motion a Society for Natural History, aided by some handsome collections, and an extensive apparatus. I used to attend their periodical meetings: one day I found Schiller there; we happened to go out together; some discourse arose between us. He appeared to take an interest in what had been exhibited; but observed, with great acuteness and good sense, and much to my satisfaction, that such a disconnected way of treating Nature was by no means grateful to the exoteric, who desired to penetrate her mysteries.
'I answered, that perhaps the initiated themselves were never rightly at their ease in it, and that there surely was another way of representing Nature, not separated and disunited, but active and alive, and expanding from the whole into the parts. On this point he requested explanations, but did not hide his doubts; he would not allow that such a mode, as I was recommending, had been already pointed out by experiment.
'We reached his house; the talk induced me to go in. I then expounded to him with as much vivacity as possible, the Metamorphosis of Plants,[71] drawing out on paper, with many characteristic strokes, a symbolic Plant for him, as I proceeded. He heard and saw all this with much interest and distinct comprehension; but when I had done, he shook his[373] head and said: "This is no experiment, this is an idea." I stopped with some degree of irritation; for the point which separated us was most luminously marked by this expression. The opinions in Dignity and Grace again occurred to me; the old grudge was just awakening; but I smothered it, and merely said: "I was happy to find that I had got ideas without knowing it, nay that I saw them before my eyes."
'Schiller had much more prudence and dexterity of management than I: he was also thinking of his periodical the Horen, about this time, and of course rather wished to attract than repel me. Accordingly he answered me like an accomplished Kantite; and as my stiff necked Realism gave occasion to many contradictions, much battling took place between us, and at last a truce, in which neither party would consent to yield the victory, but each held himself invincible. Positions like the following grieved me to the very soul: How can there ever be an experiment that shall correspond with an idea? The specific quality of an idea is, that no experiment can reach it or agree with it. Yet if he held as an idea the same thing which I looked upon as an experiment, there must certainly, I thought, be some community between us, some ground whereon both of us might meet! The first step was now taken; Schiller's attractive power was great, he held all firmly to him that came within his reach: I expressed an interest in his purposes, and promised to give out in the Horen many notions that were lying in my head; his wife, whom I had loved and valued since her childhood, did her part to strengthen our reciprocal intelligence; all friends on both sides rejoiced in it; and thus by means of that mighty and interminable controversy between object and subject, we two concluded an alliance, which remained unbroken, and produced much benefit to ourselves and others.'
The friendship of Schiller and Goethe forms so delightful a chapter in their history, that we long for more and more details respecting it. Sincerity, true estimation of each other's merit, true sympathy in each other's character and purposes appear to have formed the basis of it, and maintained it unimpaired to the end. Goethe, we are told, was minute and sedulous in his attention to Schiller, whom he venerated as a good man and sympathised with as an afflicted one: when in[374] mixed companies together, he constantly endeavoured to draw out the stores of his modest and retiring friend; or to guard his sick and sensitive mind from annoyances that might have irritated him; now softening, now exciting conversation, guiding it with the address of a gifted and polished man, or lashing out of it with the scorpion-whip of his satire much that would have vexed the more soft and simple spirit of the valetudinarian. These are things which it is good to think of: it is good to know that there are literary men, who have other principles besides vanity; who can divide the approbation of their fellow mortals, without quarrelling over the lots; who in their solicitude about their 'fame' do not forget the common charities of nature, in exchange for which the 'fame' of most authors were but a poor bargain.
With the release Friday (April 20) of the 100 titles the Stateside program is has listed in its “new PBS series and multi-platform initiative that celebrates the joy of reading and the books we love,” it become apparent just how deeply different the two approaches are.
The 17-year-old annual Canada Readsfrom the Canadian Broadcasting Corporation (CBC) selects five contemporary works, each “defended” by a celebrity personality in four deeply serious, issue-driven debates seen and heard on a variety of platforms in a single week in March. It’s a powerful evocation of how forcefully literature can help reflect and enrich a nation’s political and cultural dialogue.
By contrast, the new US show is positioned as a “nationwide summer reading initiative” to choose “America’s best-loved novel” and in press materials dubs itself “the most expansive national celebration of books and reading aimed at engaging multi-generational readers across platforms ever created.”
And now that we can see the 100 titles put forward for the American show, it’s clear that there’s little comparison with the Canadian effort. The program is being produced for PBS by Nutopia, the documentary-led production company founded by Jane Root, formerly president of Discovery Channel US.
Canada Reads searches for what its producers call “the title the whole country should read this year.”
By contrast, The Great American Read, looking for a “best-loved” standout, might be positioned as saying, “Read anything, absolutely anything, just read.” You have Crime and Punishment and Fifty Shades of Grey on the same list; The Da Vinci Code and The Grape of Wrath; Siddartha and I, Alex Cross. The Canadian effort is advisory, the American one is populist.
The television aspect of The Great American Read involves a two-hour opening show to air on May 22 on PBS affiliate stations, then, after summer tapings of “entertaining and informative documentary segments,” the show returns in the fall for six one-hour episodes led by NBC News correspondent Meredith Vieira, formerly of The View and Today and the syndicated edition in the States of Who Wants To Be a Millionaire.
The audience-engagement element already has begun, in a sense, in that PBS’s media materials tell us that its 100 titles were chosen in “a demographically representative national survey,” a public opinion poll said to have been answered by some 7,200 people and conducted by YouGov. That’s a ratings site followed by some for its President Trump Daily Job Approval ranking and featuring, at this writing, the article “Most Americans Are Not Concerned About How Their Daily Lives Affect the Environment” for Earth Day.
In a prepared statement, PBS’ president and CEO Paula Kerger is quoted, saying, “With The Great American Read, we will leverage our combined broadcast and digital presence, along with the strong local connections of PBS member stations, to inspire a national conversation about beloved books and the power of reading.”
The List of 100 Titles
The 100 titles are by authors from 15 countries, and cover five centuries of writings, from Cervantes’ 1603 Don Quixote to the National Book Award finalist Ghost by Jason Reynolds, a 2016 children’s book. An author can be represented in the list only once, and a series counts as a single entry.
Many local affiliates are expected to engage their community viewers in events on the ground, as social-media efforts carry on, online. Voting at the show’s site will ultimately establish what the program will call “America’s best-loved novel” in the autumn.
The list of 100 titles follows, and more about them is on the program’s website here.
We're so excited to announce that many Vintage/Anchor Books will be a part of PBS' The Great American Read PBS, which was just announced this week! The Great American Read is an eight-part series designed to spark a national conversation about reading and 100 “books that have inspired, moved, and shaped us.”
Breyten Breytenbach (/ˈbreɪtɛnˈbʌx/; born 16 September 1939) is a South African writer and painter known for his opposition to apartheid, and consequent imprisonment by the South African government. He is informally considered as the national poet laureate by Afrikaans-speaking South Africans of the region. He also holds French citizenship.
Breyten Breytenbach was born in Bonnievale, approximately 180 km from Cape Town and 100 km from the southernmost tip of Africa at Cape Agulhas. His early education was at Hoërskool Hugenoot and he later studied fine arts at the Michaelis School of Fine Art at the University of Cape Town. His committed opposition to apartheid policy compelled him to leave South Africa for Paris, France, in the early 1960s, where he married a French woman of Vietnamese ancestry, Yolande, due to which he was not allowed to return: The Prohibition of Mixed Marriages Act of 1949 and The Immorality Act (1950) made it a criminal offence for a white person to have any sexual relations with a person of a different race.[1]
On an illegal clandestine trip to South Africa in 1975 he was arrested and sentenced to nine years' imprisonment for high treason: his work The True Confessions of an Albino Terrorist describes aspects of his imprisonment. In June 1977 Breytenbach was brought to court again by the South African government on a new series of terrorism charges. It was alleged that he had planned a Russian submarine attack on the prison centre at Robben Islandthrough the "Okhela Organisation", which he had allegedly founded as a resistance group fighting apartheid in exile. After a successful defence, the judge found a total lack of evidence for the very existence of Okhela – which had been the main charge at the first trial – and so Breytenbach was found not guilty on all serious charges. He was found guilty only on the technical counts of having smuggled out letters and poems, for which a nominal fine of some 50 dollars was imposed.[2]
Released in 1982 as a result of massive international intervention, he returned to Paris and obtained French citizenship.
Breytenbach's work includes numerous volumes of novels, poetry and essays, many of which are in Afrikaans. Many have been translated from Afrikaans to English, and many were originally published in English. He is also known for his works of pictorial arts. Exhibitions of his paintings and prints have been shown in cities around the world, including Johannesburg, Cape Town, Hong Kong, Amsterdam, Stockholm, Paris, Brussels, Edinburgh and New York City.[4]...
張琨院士為國際知名之漢藏語言學者，對苗傜語、梵語、藏語、漢語音韻學和漢語方言學都有輝煌貢獻。張院士在1937年所發表的論文〈苗傜語聲調問題〉奠定其苗傜語聲調比較研究的基礎；1947年赴美後，除繼續苗傜語之研究外，側重藏語和漢語音韻的研究。畢生語言學專著至少7種，論文發表上百篇。1972年，與Dr. Betty J. Shefts Chang共同發表之《古漢語韻母系統與切韻》(The Proto-Chinese Final System and the Ch’ieh Yun)，對切韻提出新的見解，受到語言學界的普遍重視；1978至1981年陸續出版之《西藏口語語料》一至四冊 (Spoken Tibetan Texts, Vol. 1-4)更是西方語言學家了解藏語拉薩方言的津梁。而其早年與李霖燦合著之《納西象形文字字典》至今一直是納西語文研究的重要工具書。
"When you arise in the morning, think of what a precious privilege it is to be alive - to breathe, to think, to enjoy, to love."
Roman Emperor Marcus Aurelius was born #onthisday in AD 121. Aurelius' philosophical 'Meditations' are considered to be one of the world's most influential works, incorporating stoic principles he used to cope with life as a warrior and leader. Aurelius' reign was troubled by natural disasters and war. His personal writings outline a philosophy of commitment to virtue above pleasure, and tranquility above happiness.
This striking half-life-sized bronze portrait was found near Brackley in Northamptonshire.
「一日之始就對自己說：我將遇見好管閑事的人、忘恩負義的人、傲慢的人、欺詐的人、嫉妒的人和孤僻的人。他們染有這些品性是因為他們不知道什麼是善，什麼是惡。但是，我知道善是美的，惡是醜的；而且知道做了錯事的人們的本性與我相似——不是相似的血緣或出身，而是同樣的心智和同樣的一份神性。」——馬可·奧勒留(Marcus Aurelius)《沉思錄》 “Dwell on the beauty of life. Watch the stars, and see yourself running with them.” 天上繁星與我們：或動或靜皆相宜、且舞且思變華年 'Do not act as if you had ten thousand years to live...while you have life in you, while you still can, make yourself good.'
Marcus Aurelius Antoninus Augustus was born in Rome, Roman Empire on this day in 121 AD. He was Roman Emperor from 161 to 180 AD.
"Constantly regard the universe as one living being, having one substance and one soul; and observe how all things have reference to one perception, the perception of this one living being; and how all things act with one movement; and how all things are the cooperating causes of all things which exist; observe too the continuous spinning of the thread and the contexture of the web." --from MEDITATIONS by Marcus Aurelius
The Roman emperor Marcus Aurelius Antoninus (a.d. 121—180) embodied in his person that deeply cherished, ideal figure of antiquity, the philosopher-king. His Meditations are not only one of the most important expressions of the Stoic philosophy of his time but also an enduringly inspiring guide to living a good and just life. Written in moments snatched from military campaigns and the rigors of politics, these ethical and spiritual reflections reveal a mind of exceptional clarity and originality, and a spirit attuned to both the particulars of human destiny and the vast patterns that underlie it.
“Dwell on the beauty of life. Watch the stars, and see yourself running with them.” ― Marcus Aurelius（121—180 ）: Meditations
"Whatever is in any way beautiful hath its source of beauty in itself, and is complete in itself; praise forms no part of it. So it is none the worse nor the better for being praised." --from MEDITATIONS by Marcus Aurelius
"When you wake up in the morning, tell yourself: The people I deal with today will be meddling, ungrateful, arrogant, dishonest, jealous, and surly. They are like this because they can't tell good from evil." --from "Meditations" (c. 161–180 CE) by Marcus Aurelius
The Roman emperor Marcus Aurelius Antoninus (a.d. 121—180) embodied in his person that deeply cherished, ideal figure of antiquity, the philosopher-king. His Meditations are not only one of the most important expressions of the Stoic philosophy of his time but also an enduringly inspiring guide to living a good and just life. Written in moments snatched from military campaigns and the rigors of politics, these ethical and spiritual reflections reveal a mind of exceptional clarity and originality, and a spirit attuned to both the particulars of human destiny and the vast patterns that underlie it.
Bach: 'Goldberg' Variations
Goldberg’ Variations – a monumental work composed, according to its title-page, ‘for the refreshment of the spirits’. The resulting Aria and variations are a compositional wonder, a sequence of musical miniatures unequalled in all Bach’s output. Played by András Schiff.
Marcus Aurelius Antoninus --Live with the gods. 【Marcus Aurelius Antoninus A.D. 121–180. Philosopher and emperor of Rome (161–180). His philosophical autobiography Meditations is a classic work of stoicism.這本著作的中文譯本，可能超過10本。也許你可考慮和梁實秋先生一起思辨之。】
羅馬帝國最興盛時期的奧里略皇帝（Marcus Aurelius）寫了《沉思錄》（Meditation），是他在跟蠻族打完仗後的夜霧瀰漫中，一個人在寂寞安靜的帳篷裡寫下的思維（Ta Eis Auton）。他認為靈魂也就是心智，是一個人唯一可以控制的東西。控制自己的心智就控制自己的思想進而控制自己的行動；良知就是知曉真理，口中說必真理，與人言必真理，一切生活都在真理中，要在生命的戰爭中為真理的戰役奮戰不懈。生命的意義就是要瞭解人生的責任是什麼，並竭盡所能去完成它，錯誤的知識和智慧是鏡花水月，它們會牽著你的鼻子走入歧途，我們必須在正邪之間清楚地抉擇，從而彰顯生命的真正意義。
臺灣臺中人，生於1943年，1965年畢業於東海大學外文系。1967年赴美國留學，於1972年獲普林斯敦大學 (Princeton University) 文學博士學位。現為美國密西根大學 (University of Michigan) 中國文學教授，曾任該校中國文化研究所主任及亞洲語言文化系主任。著作包括 The Transformation of the Chinese Lyrical Tradition: Chiang K’uei and Southern Sung Tz’u Poetry （張宏生譯：《中國抒情傳統的轉變：姜夔與南宋詞》），《理想國的追尋》，與友人合編 The Vitality of the Lyric Voice: Shih Poetry from the Late Han to the T’ang; Constructing China: The Interaction of Culture and Economics; 合作英譯董說的《西遊補》(Ｔhe Tower of Myriad Mirrors: A Supplement to Journey to the West) 等書。
Johann Carl Friedrich Gauss was a German mathematician who made significant contributions to many fields, including number theory, algebra, statistics, analysis, differential geometry, geodesy, geophysics, mechanics, electrostatics, magnetic fields, astronomy, matrix theory, and optics. Sometimes referred to as the ...
十八世紀末，兩位德國青年分別以自己的方式「丈量世界」。一位是亞歷山大．封．洪堡（Alexander von Humboldt, 1768-1859），他不但親赴原始森林、大草原，還深入奧利諾科河，以身試毒，計算土著身上的頭蝨，還探勘洞穴，攀登火山，經歷千驚萬險，目睹海怪出沒，與食人族歡聚一堂。另一位是數學家暨天文學家卡爾．費德烈．高斯（Carl Friedrich GauB, 1777- 1855），他不需要離開家門卻能證明出：空間是曲面的。他少了女人就活不下去，卻在新婚之夜為了要記下某個靈光閃現的公式而跳下床。
-“What an absurd torture for the artist to know that an audience identifies him with a work that, within himself, he has moved beyond and that was merely a game played with something in which he does not believe.” ―from DOCTOR FAUSTUS Doctor Faustus by Thomas Mann: Languishing under a hot sun in “German California”, Mann and Theodor Adorno worked together on this vast novel. This narrative about barbarity and rationality features a composer who is something like Arnold Schoenberg. The work of the fictional, demonic, syphilitic composer Adrian Leverkuhn are described in lines from Adorno’s Philosophy of New Music. Adorno himself makes an appearance as the devil, in the shape of a “theoretician and critic, who himself composes, so far as thinking allows him”.
Doctor Faustus by Thomas Mann was first published by Alfred A. Knopf in the United States on this day in 1948.
"Why does almost everything seem to me like its own parody? Why must I think that almost all, no, all the methods and conventions of art today are good for parody only?" --from "Doctor Faustus"
Thomas Mann's last great novel, first published in 1947 and now newly rendered into English by acclaimed translator John E. Woods, is a modern reworking of the Faust legend, in which Germany sells its soul to the Devil. Mann's protagonist, the composer Adrian Leverkühn, is the flower of German culture, a brilliant, isolated, overreaching figure, his radical new music a breakneck game played by art at the very edge of impossibility. In return for twenty-four years of unparalleled musical accomplishment, he bargains away his soul--and the ability to love his fellow man. Leverkühn's life story is a brilliant allegory of the rise of the Third Reich, of Germany's renunciation of its own humanity and its embrace of ambition and nihilism. It is also Mann's most profound meditation on the German genius--both national and individual--and the terrible responsibilities of the truly great artist.
"Why does almost everything seem to me like its own parody? Why must I think that almost all, no, all the methods and conventions of art today are good for parody only?" --from "Doctor Faustus" By Thomas Mann
Thomas Mann wrote Doctor Faustus during his exile from Nazi Germany. In retrospect it seems—although he already had a long string of masterpieces to his name—that this is the novel he was born to write. Obsessively exploring the evil into which his country had fallen, Mann succeeds as only he could have in charting the dimensions of that evil; and this drama of a composer who sells his soul for the artistic power he craves has both the pertinence of history and the universality of myth. With an introdcution by T.J. Reed, this version is a translation by H.T. Lowe-Porter.
“讀The Cambridge Companion to THOMAS MANN （2002；重慶出版社影印，2006），發現末章是探討其原授權之德譯英版本的許多「翻譯」問題（Mann in English）。有些是翻譯者誤會/不懂，有些是翻譯者似乎圖謀不軌（稍微改動會讓讀者對人物的看法很不相同…….）”
Video essay on HITLER: A FILM FROM GERMANY (1977, dir. Hans-Jurgen Syberberg). Text taken from Susan Sontag,"Syberberg's HITLER" (1979西貝爾貝格的希特勒). Film available on Facets DVD and on Hans-Jurgen Syberberg's website: www.syberberg.de. For more information visit alsolikelife.com/shooting
Doctor Faustus
Novel by Thomas Mann
Doctor Faustus is a German novel written by Thomas Mann, begun in 1943 and published in 1947 as Doktor Faustus: Das Leben des deutschen Tonsetzers Adrian Leverkühn, erzählt von einem Freunde. Wikipedia
在法國知識界史，沙特Jean-Paul Charles Aymard Sartre (/ˈsɑːrtrə/;[8] French: [saʁtʁ]; 21 June 1905 – 15 April 1980) 是統領一常時期的人物。
Harold Bloom (born July 11, 1930) 在 Essayists and Prophets 《文章家與先知》這本書，只給SARTRE沙特 2頁篇幅，說很少人會讀La Nausée (1938) 或者哲學的文學鉅著《存在與 虛無》然而，他重視其《文字生涯》 (Les Mots (1964)/The Words )
Simone de Beauvoir and Jean-Paul Sartre in Beijing,1955
胡品清翻譯的Bovary夫人 末章，因為沙特小孩時， 讀不懂末幾頁，提出一些問題 (見他的【文字生涯】Les Mots (1964)/The Words / Les Mots (1964) )。
其實，問得不錯。 推理上合理。可他熟讀原法文，而我們讀的是馬馬虎虎的中文。 The Economist 2016年4月12日 21:42 · "Madame Bovary" was published on April 12th 1857. It provoked one of the most famous literary trials in history—Flaubert was accused of degrading public morals with his tale of adultery and female lasciviousness Gustave Flaubert: one of the defining figures of modern literature "Madame Bovary" was published on this day in 1857 ECON.ST 2
Essayists and Prophets - Page 202 - Google Books Result https://books.google.com.tw/books?isbn=0791093700 Harold Bloom - 2009 - Biography & AutobiographyHarold Bloom. Jean-Paul. Sartre. (1905–1980). E S S A Y I S T S A N D P R O P H E T S SARTRE'S ACHIEVEMENT BEGAN IN 1938, WITH HIS EARLY NOVEL LA NAUSÉE. Now, in 2000 ... A better dramatist than he was a narrator, Sartre still has some life in the theater: No Exit continues to be revived, with some success.
沙特的《存在主義即人文主義》：Existentialism and Humanism (or "Existentialism is a Humanism", French: L'existentialisme est un humanisme) is a 1946 philosophical work by Jean-Paul Sartre. Widely considered one of the defining texts of the Existentialist movement, the book is based on a lecture called "Existentialism is a Humanism" that Sartre gave at Club Maintenant in Paris, on October 29, 1945.此篇有漢譯，版本幾個。英譯也找得到。
Happy birthday to Renaissance thinker Niccolò Machiavelli, who was born on this day in 1469. Most familiar today as the godfather of Realpolitik and as the eponym for all things cunning and devious, Machiavelli also had a lighter side, writing as he did a number of comedies. Christopher S. Celenza looks at perhaps the best known of these plays, Mandragola, and explores what it can teach us about the man and his world: http://publicdomainreview.org/20…/…/05/machiavelli-comedian/
This is a descriptive study of the author's Chinese translation of Jonathan Lynn and…
BOOKS.GOOGLE.COM
2016.6.25 1980年代英國電視幽默劇《Yes Minister》此刻被翻炒，正好讓大家回顧一下英國外交政策，作為註腳。 Mark Twain — 'Truth is stranger than fiction, but it is because Fiction is obliged to stick to possibilities; Truth isn't.'
Yes, Prime Minister 這是Hans 20幾年前在香港買的書。 讀一篇，就覺得應該讀完它，才算最起碼的了解英國人士。
https://www.youtube.com/watch?v=DGscoaUWW2M
Who reads the papers? - Yes, Prime Minister - BBC comedy
Hacker: After 500 years has Britain's policy on Europe changed? Sir Humphrey: Minister, Britain has had the same foreign policy objective for at least the last five hundred years: to create a disunited Europe. In that cause we have fought with the Dutch against the Spanish, with the Germans against the French, with the French and Italians against the Germans, and with the French against the Germans and Italians. Divide and rule, you see. Why should we change now, when it's worked so well?
Hacker: That's all ancient history, surely? Sir Humphrey: Yes, and current policy. We 'had' to break the whole thing [the EEC] up, so we had to get inside. We tried to break it up from the outside, but that wouldn't work. Now that we're inside we can make a complete pig's breakfast of the whole thing: set the Germans against the French, the French against the Italians, the Italians against the Dutch... The Foreign Office is terribly pleased; it's just like old times.
Hacker: But surely we're all committed to the European ideal? Sir Humphrey: [chuckles] Really, Minister. Hacker: If not, why are we pushing for an increase in the membership? Sir Humphrey: Well, for the same reason. It's just like the United Nations, in fact; the more members it has, the more arguments it can stir up, the more futile and impotent it becomes.
Hacker: What appalling cynicism. Sir Humphrey: Yes... We call it diplomacy, Minister.
Antony Jay and Jonathan Lynn's superb sitcom Yes, Prime Minister entered 10 Downing Street with Jim Hacker now Prime Minister of Britain, following a campaign to "Save the British Sausage." Whether tackling defense ("The Grand Design"), local government ("Power to the People"), or the National Education Service, all of Jim Hacker's bold plans for reform generally come to nothing, thanks to the machinations of Nigel Hawthorne's complacent Cabinet Secretary Sir Humphrey (Jeeves to Hacker's Wooster) who opposes any action of any sort on the part of the PM altogether. This is usually achieved by discreet horse-trading. In "One of Us," for instance, Hacker relents from implementing defense cuts when he is presented with the embarrassingly large bill he ran up in a vote-catching mission to rescue a stray dog on an army firing range. Only in "The Tangled Web," the final episode of series 2, does the PM at last turn the tables on Sir Humphrey. Paul Eddington is a joy as Hacker, whether in mock-Churchillian mode or visibly cowering whenever he is congratulated on a "courageous" idea. Jay and Lynn's script, meanwhile, is a dazzlingly Byzantine exercise in wordplay, wittily reflecting the verbiage-to-substance ratio of politics. Ironically, Yes, Prime Minister is an accurate depiction of practically all political eras except its own, the 1980s, when Thatcher successfully carried out a radical program regardless of harrumphing senior civil servants. --David Stubbs
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In an unlikely chain of events, Jim Hacker emerges as the most viable candidate for his party's next Prime Minister. Now that he gets his own car and driver, a nice house in London, a place in the country, endless publicity and a pension for life, what more does he want? Bernard: I think he wants to govern Britain. Sir Humphrey: Well, stop him, Bernard! Named one of the Top Ten TV programs of all time by the British Film Institute, this brilliantly observed comedy of manners pits the well-meaning Prime Minister Jim Hacker against the machinations of the Cabinet Secretary, Sir Humphrey Appleby, in the ultimate political marriage of inconvenience. Paul Eddington (Good Neighbors) stars as Jim Hacker and Academy Award nominee Nigel Hawthorne (The Madness of King George) first drew wide notice in the role of Sir Humphrey Appleby.
Antony Jay, a Machiavelli Scholar and a Creator of ‘Yes Minister,’ Dies at 86
Antony Jay
Antony Jay, whose keen appreciation of Machiavelli and corporate behavior helped make the 1980s British television series “Yes Minister” and “Yes, Prime Minister” instant classics of political satire, died on Aug. 21. He was 86.
His death was announced by a family spokesman, who did not state where Mr. Jay had died or the cause.
Mr. Jay, a producer at BBC Television and a writer for the satirical news program “That Was the Week That Was” in the 1960s, was a close student of complex organizations and the behavior of the people who ran them.
In his books “Management and Machiavelli: An Inquiry Into the Politics of Corporate Life” (1967) and “Corporation Man” (1972), he drew parallels between kings and business leaders; as a writer and producer of management training films for Video Arts, a company he founded with the comic actor John Cleese, he was practiced in mining corporate culture for comedic effect.
With Jonathan Lynn, a colleague at Video Arts, Mr. Jay decided to shine a bright light on the dark machinations of government and the relationship between public officials and civil servants, a strange codependency in which the nominally powerful ended up as putty in the hands of their ostensible inferiors.
In “Yes Minister,” which ran from 1980 to 1984, audiences delighted in the weekly predicaments faced by the Right Honorable James Hacker (Paul Eddington), the well-meaning head of the fictional Ministry for Administrative Affairs; his wily, smooth-talking permanent under secretary, Sir Humphrey Appleby (Nigel Hawthorne); and Sir Humphrey’s whipsawed private secretary, Bernard Woolley (Derek Fowlds).
In “Yes, Prime Minister,” the same cast returned, with Hacker elevated to prime minister. Both series were broadcast in the United States by PBS.
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Paul Eddington, left, and Nigel Hawthorne in the British TV series “Yes Minister,” which ran from 1980 to 1984.CreditBBC, via Everett Collection
The series addressed, Mr. Jay told The New York Times in 1988, “the great undiscussed subject of British politics,” which he defined as “the tension not of left and right, not of Conservative and Socialist, but of all civil servants and all ministers.”
Audiences enjoyed the scrupulously nonpartisan skewering of narcissistic politicians and obstructionist bureaucrats. Ministers, members of Parliament and civil servants laughed or squirmed, depending on the joke.
“I suppose you could say that the fun of the series comes from showing civil servants as politicians see them and politicians as civil servants see them,” Mr. Jay told The Guardian in 1986. “I can tell you without any doubt that if you showed politicians and civil servants as they see themselves, you would have the most boring series television ever encountered.”
Prime Minister Margaret Thatcher declared “Yes Minister” her favorite program. “Its closely observed portrayal of what goes on in the corridors of power,” she told The Daily Telegraph, “has given me hours of pure joy.”
Antony Rupert Jay was born on April 20, 1930, in London. His father, Ernest, and his mother, the former Catherine Hay, were actors. He attended St. Paul’s School and Magdalene College, Cambridge, where he earned a degree in classics and comparative philology in 1952.
After serving two years with the Royal Signal Corps, he joined the current affairs department of BBC Television, where he developed the current affairs program “Tonight.” He became editor of the program and head of the television talk features department.
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Antony Jay’s “Management and Machiavelli” (1967).CreditPrentice Hall Press
In 1957 he married Rosemary Watkins, who survives him, along with their four children: Michael, David, Ros and Kate.
Mr. Jay left the BBC in 1964 to become a freelance writer and producer. David Frost, with whom he worked on “That Was the Week That Was,” hired him as a writer for “The Frost Report,” and the two collaborated on a book, “To England With Love” (1967), a sendup of their countrymen published in the United States as “The English.”
He wrote the documentary “The Royal Family” to celebrate the investiture of Charles as Prince of Wales in 1969 and, with the director Edward Mirzoeff, wrote another royal documentary, “Elizabeth R.: A Year in the Life of the Queen” (1992), to mark the 40th anniversary of Queen Elizabeth II’s accession. In 1988 he was made a bachelor knight of the realm.
In addition to “Management and Machiavelli,” which Forbes magazine called “among the most provocative and perceptive books ever written on the subject of management,” he wrote “Effective Presentation: The Communication of Ideas by Words and Visual Aids” (1970) and “The Householder’s Guide to Community Defense Against Bureaucratic Aggression” (1972).ading the main story
While writing on corporate culture and politics, Mr. Jay became interested in public choice, a branch of political theory that treats voters, politicians and civil servants as self-interested agents and analyzes their behavior accordingly. He was also influenced by the anthropological works of such writers as Robert Ardrey.
“I am fascinated by how organizations behave and how people behave in organizations,” he told The Daily Telegraph in 2005. “During my own experiences I saw how an awful lot of animal behavior, particularly primate behavior, comes up in the modern corporation.” All of this fed directly into his scripts for “Yes Minister.”
Mr. Lynn joined Mr. Jay in writing “The Complete Yes Minister,” presented as the edited and annotated diaries of James Hacker. It was published in 1984, and a sequel, “Yes, Prime Minister,” appeared in 1986. The two later collaborated on a stage version of “Yes Prime Minister.” Directed by Mr. Lynn, it opened at the Chichester Festival Theater in 2010 and later transferred to the West End in London. Correction: August 31, 2016 An obituary on Tuesday about Antony Jay, a creator of the British television series “Yes Minister,” no comma is cq misstated the name of the fictional government agency depicted in that show. It was the Ministry of Administrative Affairs, not the Ministry of Administrative Public Affairs.
With the release Friday (April 20) of the 100 titles the Stateside program is has listed in its “new PBS series and multi-platform initiative that celebrates the joy of reading and the books we love,” it become apparent just how deeply different the two approaches are.
And now that we can see the 100 titles put forward for the American show, it’s clear that there’s little comparison with the Canadian effort. The program is being produced for PBS by 
