陳傳興 木與夜孰長

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木與夜孰長

• 作者： 陳傳興  
  
• 出版社：行人  
  
• 出版日期：2009/01/22
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樹木與夜晚誰比較長？智慧與粟米誰比較多？

　　這是出自《墨子》的典故，無法比較的事物放在一起，讓人不得不對疑問本身起疑，就像是這個問題不是為了「被解決」而存在，而是為了要產生更多的疑問，為了讓人更疑惑。

　　留法多年，研習精神分析與符號學的陳傳興，繼《憂鬱文件》發表後近二十年後，出版個人文集《木與夜孰長》。書中收錄這些年來，作者不安於學術空間，遊走於藝術、文學、美術各個領域，所累積的驚人成績。    對大部分讀者來說，這些作品讀來隱晦稠密，一方面是因為作者思考的方式與觀念 太新穎，唯有破壞日常語言、以全新的書寫才能得以承受、傳達；另一方面，作者相信唯有讓人產生更大的疑惑，才有可能通往真正的理解。所以，與其告訴讀者夜 晚的時間、樹木的長度，他寧可迂迴繞道，詢問眾人：木與夜孰長？  

　　本書最重要的主題為「代數空間」，作者自言這個問題是早年尚有「知識衝動」的 產物，幻想能建構出較為嚴謹明確的論述體系。由韓愈的〈畫記〉及范寬的〈谿山行旅圖〉入手，作者深刻地質疑西方的透視法、幾何空間霸權，試圖發掘出一套視 覺觀看理論：代數空間。由此得出的不只是一種理解中國繪畫的方式，更是提供一種新的主體，新的現代性位置。    無論是文學家韓愈、張愛玲、王文興，藝術家范寬、蔡根、鄭君殿，陳傳興先生總能撥開文本或圖層的迷霧，揭露其背後的無意識織錦，再以他獨特的語言，開啟理解羅列經緯的嶄新實驗閱讀。

 

桌燈罩裡的睡褲與拖鞋：「家變」—「時間」

小說《家變》具有兩樣特質令人難以將它定位與同時化於文學史中，它欠缺一般所謂的時代風貌，共同性。這兩種特質分別是零碎的斷片敘事形式，以及獨創一格的書寫文字。在小說發表出版（一九七二）之後最先引起激烈反應與批評的是後者，至於前者的斷片形式除了少數幾位批評者曾經注意到之外（但也未作任何更深層的分析），未曾吸聚任何反響。《家變》的作者自己也似乎特別強調語言文字的重要與優越性，在新版序言中有一段話明白表示此意——「因為文字是作品的一切，所以徐徐跟讀文字纔算實實閱讀到了作品本體」 ，這種文字至上的絕對論點，作品本體即是文字；王文興意想用此去強硬回應當時各界對《家變》的書寫文字之責難與批評。在這一篇序言裡他甚至很直截地借用了「白馬非馬」的名家哲學駁難吊詭去凸顯他的唯名論立場——「我相信拿開了《家變》的文字，《家變》便不復是《家變》。

就好像褫除掉紅玫瑰的紅色，玫瑰就不復是玫瑰了。」（同上）——失紅的玫瑰不再是玫瑰，反事實命題（counterfacture proposition），錯置一般自然語言符號的名實指稱關係，顛倒拋棄邏輯範疇。從這種新的書寫文體中衍生出來的「作者—作品—讀者」的「生產—收受」關係當然不同於以往的傳統模式，作者與作品不再是透明隱形，借用王文興他自己所說的話——「作者可能都是世界上最屬『橫征暴斂』的人」（同上）——作者與讀者的關係是透過作品所共同建構出來的專制暴力機制，一種類似施虐與被虐的倒錯情慾關係，依此理，《家變》的作者在上述句子之後又再補上一句——「比情人還更『橫征暴斂』。
不過，往往他們比情人還更可靠。」——更橫暴但也更可信賴的情人，作者—讀者間的專制政治經濟關係混滲著愛憎交纏的情慾雙重矛盾。從《家變》出版之後所引起的兩極化收受支應去思考，這些現象頗能呼應了王文興在此所構想的「作者—作品—讀者」三角關係。王文興在《家變》裡運作使用的唯名論策略，或更正確地說，偏執性唯名語言，破壞、重構書寫語言；這些都是建立在他所預設的開明專制（despotism eclaire）政治策略和施虐與被虐的情慾經濟此種雙重機制的基礎上。序言裡王文興所謂的「作者—作品—讀者」三角家庭倫理，它先行鏡像迴映《家變》正文中的某些敘事特質。「徐徐跟讀」、「橫征暴斂」、「情人」、「可靠」這些種種詞語不僅只是某些意向指令。倫理規定，也不是一種凝滯不動的隱喻被作者用來比擬讀者面對作品與作者之態度。

「徐徐跟讀」的讀者，理想的讀者在王文興的設想下是一種被規定制約的讀者，他有一定的理想速度（每小時一千字上下），一定的閱讀時間（一天不超過二小時），實踐這種閱讀哲學的讀者是否能有所謂的閱讀之愉悅與自由？閱讀或許已經不能再被稱為是閱讀，它更接近訓練、儀式行為，一種身體實踐，以及透過這種實踐完成的自我體認。從王文興的理想讀者規定中可以讀出作者面對現代性的不安矛盾，一方面他似乎相信並接受現代「時間」的計量與工作效率的絕對關係，極端精準的時間經濟。但另一方面當他將這個現代性生產時間原則絕對地規定在非物質性的（廣義）美學生產範圍上，他不考慮範疇差異性所造成的悖詰，原則的絕對性所朝向的非時間性才是他所希冀慾求的。

理想的讀者的規定裡存在著上述的雙重時間性矛盾，極端的日常與公共時間以及對這種時間性的否定，它們彼此相互否定以存否（deni）方式共存於理想規定內。序言裡王文興提出什麼是理想的閱讀與讀者的問題，同時他也設想了上述的規定去回答問題，但是這樣的讀者不可免地一定會面對以存否方式相互對峙雙重時間性矛盾。既然是「理想」讀者，一種想像構築出來的人物存在於作者的慾望領域內，那麼誰是理想讀者？范曄。《家變》裡逆倫的兒子，小說的主要敘事焦點所在，閱讀的主要對象與場所。
王文興在《家變》裡非常強調范曄的閱讀與書寫經驗。小說開頭的ABC三場序幕，A場描寫父親離開家門前的最後一刻場景。B和C場兩場都和范曄因為母親一再探問知否父親去處而致中斷原先的研讀，生氣不悅地和母親爭執。C場以范曄的主觀觀點閱讀尋父啟事開頭回憶的段落部分，最早的回憶，第一個回憶場景（頁十七）緊隨在C場序幕之後的也是一個閱讀認字的場景，父親牽著小范曄的手走在廈門市街上，沿街指著商店招牌教小孩認字辨讀。《家變》文中一再出現類似的閱讀與書寫的自我迴映場景，凸顯書寫者—作者的後設自我迴映性。這些描寫閱讀與書寫的眾多場景中，作者又特別重複安排閱讀的場景出現在小說三部曲結構形式的回憶起始點處。類同第一場回憶，編碼（I）描述認字學讀，第二部在（I）尋人啟事後的第（III）段，十六歲的范曄，他專心臥在他二哥的竹床上閱讀小說。他看的是俄國舊俄小說，「《貴族之家》，屠格涅夫著，……」（頁二十五）。但是就像前面序曲B場景裡范曄被母親持續不止的問題干擾而中斷閱讀，這裡，十六歲的范曄也得不到安寧去專心閱讀，因為母親在屋外粗暴無理地斥責鄰居把竹竿衣物跨架在他們家的竹籬笆上。被母親很刺耳叫罵（……像杯砸地一樣的斥罵聲……）所刺激范曄的拋開書本的同時心理所意識到的是羞辱感。

王文興很詳實地描寫范曄當時不安焦燥身心狀態——「他為此臊紅了顏，……他一個人在屋裡走廊內來回躞轉著，他臉上慍慍發熱，雙手則是冷冷的。一面走一面他將面部收進手上。」（頁二十六）。小說第三部的結構形式也完全類同先前二部一樣，在尋人啟事（K）之後的過去往事第一二四段裡也安排描寫范曄閱讀場景和阻擾他閱讀的外因，當然還有隨之而生的范曄反應。藉由此種反複出現的基題，作者營建出「家變」三部曲的複格遁走形式。複格、遁走與閱讀，「家變」的隱密三重奏。這或許也是王文興在序言裡另一個隱喻理想讀者的意義——「理想的讀者應該像一個理想的古典樂聽眾」。第三部，第一二四段二十歲的范曄，已進入C大歷史系第二年就讀，對於閱讀看書的經驗有一種近乎偏執性的念頭，堅持閱讀行為的完整與連續性而不容許任何外來的雜音干擾中斷。

范曄甚至以「氛圍」、「軀體」等意念去形容他理想中的那種閱讀行為，閱讀對他而言是有若去碰觸另一個軀體——「往往一滴滴于介的聲音都會使他於一個句子的中間中斷，等待一下再重新續上去唸上時，唸畢的那片氣氛已然忘掉，再接上去已不再像那麼一回的事，有若是把一個人的下軀接到另一個人的上軀上去一般。」（頁一四九）。《家變》的作者在三部曲裡分別安排呈現三種不同的閱讀狀態：辨認文字圖形的識字學習，閱讀小說敘事，閱讀的偏執性習慣。前面兩種閱讀是一般日常行為，閱讀的對象物和目的意向都很清楚。第三種閱讀就不是前面兩類的一般閱讀行為。那種由閱讀者所選擇運作和掌控的日常事項，它是獨立於閱讀者之外的另一個軀體，一個不能被閱讀者的自由意志所任意改變組合的「他者」；作者使用「氛圍」、「軀（體）」、「不能被領群」、「過界」等等詞彙去形容范曄想像的理想閱讀的特殊模態，它只能存在於范曄和閱讀之間而不能和第三者共享。這樣的閱讀怎麼可能產生？

范曄如何去體現這個所謂的理想閱讀？這一段章節（一二四）從飛機飛過打斷范曄的閱讀開始，而引出關於理想閱讀狀態的聯想，然後當范曄想再接續先前的閱讀時他父親又在他背後進進出出房間造成極大的干擾，閱讀再次被中斷，范曄被激惱但因為先前時日和父親一再爭吵的挫敗經驗——「倦弱」與「慄戰」——他只能被動無力的等待擾亂自行中止；在等待的當中他回想最近時日中父親種種讓他惱怒的行為，經過這一番回想原本「疲懶」的憤怒再度被點燃，好不容易他才將它平熄抑制下來，等到想再續先前的閱讀，他父親又再進房而惹出更大的爭執鬧劇，終歸到這章節結束為止，范曄的閱讀行為都不得完成，一而再反複地被阻擾。近乎是強制性反複行為，完全的閱讀始終無法達成，它只能反複不斷地開始與中斷，一再延遲等待，范曄的閱讀慾望始終不能得到滿足，但是這個欠缺實際上是一種替代折衷的症狀表現，一種偏執性精神官能症者常有的行為。

佛洛依德在「鼠人」病例的分析以及幾篇關於偏執性精神官能症的文章裡，曾經詳細解析此類症狀的一些思維模式，懷疑和偏執，強制性思維是其中最為凸顯的兩種矛盾雙重性，互補思維模式。「……透過一種『回溯』（regression），準備的行為替代最後的決定，思維替代行為，並且某些行為的預備思維會以強制力方式取代替換行為。依照由行為回溯到思維的程度，偏執性精神官能症帶有（偏執性）強制思維特徵或是一般所謂強制行為之特徵。」 從強制思維與行為的回溯替換關係可以幫助解釋范曄等待父親的擾亂停止，以便重新開始閱讀時的回想中他為何會因為父親的一些近乎儀式性的日常行為而惱怒不已。

范曄覺得他父親平日的刷牙和清掃這些像和尚唸經的每天應作儀式其實「……只是為了要躲避開思考，純然是為的懶得去用腦子，始移駐到這暗含催眠性的行止上去。」（頁一五○）。父與子各有不同的強制性症狀表現。父親用日常生活的儀式化行為去逃避思考，自我催眠；范曄偏執於理想閱讀的念頭，不停地以各種延後閱讀的實行完成，在每次的中斷時候又用種種思慮去替換和延隔，等待重複開始理想閱讀（念頭）。范曄父親的空洞、單一沒有替代與延遲的反複中隔，一方面拒絕思考的可能，以被動逃避的方式；另一方面又自我催眠，不讓自我形成。

他的純粹行為似乎在反諷范曄只有思維而無法落實完成的偏執性慣習。但是思維／行為的對立意義不僅僅只停留在這層表面而已。偏執性精神官能症者思維的「強制性」特徵和懷疑兩者都是一種抗拒、防禦的技術去轉化內在雙重矛盾慾力的衝突。范瞱與父親的施虐／被虐經濟關係在《家變》中不停輪轉兩人的主動／被動角色，這一段章節（一二四）裡推展此種倒溯退回施虐攻擊和被虐的同時共存狀態。范曄以思維替代行為的偏執表現，實質上是一種婉轉的被虐修辭，范曄在根底是和父親一樣的處於被動的地位，所不同的是父親更為被動地停留在「固定點」的純粹行為而不願去作任何回溯或懷疑，也即是說，沒有任何抗拒，即使這是一種被虐形式的抗拒。因此，當范曄心中暗想到父親的日常儀式性行為時所生出的不滿怒氣是多重意向的；他父親的極端被動態度反映出范瞱自己的被動角色，他想拒絕這種認同而不能實現，潛存在被虐源頭的施虐攻擊性轉而以自己為施虐的對象，范曄的怒氣是對自己而發，但也由這裡他同時得到雙重滿足，施與受同時在自身上完成。

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the power of Big Tech. The Theory of Moral Sentiments by Adam Smith. Adam Smith had a more complex view of human action; on the financial crisis；幾本《亚当·斯密傳 》 /《亞當·斯密哲學文集 》/ 通信集Adam Smith: A Moral Philosopher and His Political Economy

August 24, 2018, 4:01 am

≫ Next: A Fighting Chance by Elizabeth Warren 2014；不大好笑的人生：伊莉莎白．華倫卯上華爾街的真實故事 2018

≪ Previous: 陳傳興 木與夜孰長

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Financial Times

'The rise of corporate power, oligopoly and monopoly, is something Smith was constantly concerned about.'

FT.COM

How Adam Smith predicted the power of Big Tech | Merryn Somerset Webb

The Theory of Moral Sentiments by Adam Smith

"Every economics student knows The Wealth of Nations, but this earlier book presents a far richer and nuanced view of human nature than its more famous successor."

- Eric Maskin, economist, 2007 Nobel laureate, and author of "The Arrow Impossibility Theorem"

"What an excellent work is that with which our common friend Mr. Adam Smith has enriched the public!" Adam Smith—author of economic treatise "The Wealth of Nations"— was born on June 16th 1723

Smith had a more complex view of human action than people give him credit for

Adam Smith was born on this day in 1723

ECON.ST

Bringing dead economists back to life
Adam Smith on the financial crisis Jan 27th 2015, 23:23 BY T.E. | NEW YORK

Quantitative easing? Bah humbug! TIRED of lightweights bickering over the financial crisis and its aftermath? Of economic upheaval becoming merely fodder for intellectually dishonest political campaigns? Wonder what biggest thinkers might have to say? Our efforts to consult the giants of economics have been hampered by an unfortunate fact: many of the most important ones are not only dead, but they died long before governments and central banks began to concoct such unconventional policy tools such as quantitative easing. That explains their absence from the argument—so far. In an attempt to cross this divide, notwithstanding the obstacles, your correspondent attended a lecture at the Harvard Club of New York on January 21st by James Otteson, a professor of political economy at Wake Forest University and the editor of a new book, “What Adam Smith Knew, Moral Lessons on Capitalism from its Greatest Champions and Fiercest Opponents”. And he asked what the great Scottish economist might have to say about the most recent crisis. Mr Otteson was kind enough to channel Mr Smith in response by citing a string of illuminating passages. It is no surprise that the man who coined the term "invisible hand" would be no fan of overt government intervention. His dissent could be split into three intertwined categories: the temptation of governments to meddle at long-term cost to society; the dangers of paper money; and how the issues of debt and money shift wealth from the future to the present. That, he thought, constitutes a form of generational theft. The first these, the temptation to meddle, touches on a core component of Smith's philosophy, most notably captured, Mr Otteson says, in the great economist's first book, “The Theory of Moral Sentiment” (1759). The "man of system" makes the mistake of thinking he can arrange the pieces of human society as if they were pieces on a chess board, but a human being has "a principle of motion of its own altogether different from that which the legislature might choose to impress upon it". Unintended consequences may result from governments imposing their ideas on society by coercion, thereby creating ongoing strife. In "The Wealth of Nations"(1776), Smith's more famous work, he frequently discussed the fragility and moral hazard of paper money, noting that it can disguise the growth of debt and provide an appearance of wealth that is hollow; a devastating "juggling trick". It is not a stretch to imagine that, if Smith were to come back and produce a revised edition, he might cite central-bank balance-sheets as an illustration of this. Much of the extra regulation that was imposed after the financial crisis was justified as protection for individuals, but Smith would have been suspicious of such a top-down system. "The real and effectual discipline which is exercised over a workman is that of his customers," Smith wrote. "It is the fear of losing their employment which restrains his frauds and corrects his negligence." All these points suggest that the financial crisis might better be thought of in two pieces, the initial tumult and the response, whose pernicious consequences lay ahead. Beyond the vast amount of public debt created during the crisis, the mere act of bailing out the institutions involved undermined the fear that Smith said was essential to prevent future fraud and negligence. What then is the alternative, if ever greater reliance on Mr Smith's "man of system" and his flaws is to be avoided? In seeing what has unfolded, Smith would be forgiven if he were to ask an obvious question: how could his ideas and his name continue to be so widely circulated while their meaning is ignored? It is left to the reader to decide whether Smith can provide all the answers for the modern world. 《亞當·斯密傳 》張亞萍譯  杭州:浙江大學出版社2013 The Life of Adam Smith Second Edition Ian Simpson Ross This remains the only full-scale biography of Adam Smith's life that also places his work in the context of his life and times Draws on correspondence, archival documents, the reports of contemporaries, and the record of Smith's publications Lively and informed account will appeal to those interested in the social and intellectual milieu of the eighteenth century, and in scottish history Includes 20 halftone illustrations representing Smith and the world in which he lived. Provides an accurate and sympathetic account of Smith's life and personality Charts more carefully the development of Smith's ideas and their expressions in his writings Includes updated and revised material from new Smith sources Responds to recent Smith biographical & interpetative scholarship Includes views on the continuing use of Smith's name & ideas in relation to contemporary problems such as regulation of the market & the banking sector in the wake of the credit crunch, and the provision of international aid for developing countries, especially Africa. Table of Contents 1. Kirkcaldy 2. Boyhood 3. Glasgow 4. The Never to be Forgotten Hutcheson 5. Oxford 6. A Respectable Auditory 7. Lectures on the History of Philosophy and Law 8. Called to Glasgow University 9. Teacher 10. Publishing Scholar and Administrator 11. The Making of the Theory of Moral Sentiments 12. Criticism of the Theory of Moral Sentiments 13. Travelling Tutor 14. Transition 15. Inquirer into the Wealth of Nations 16. The American Crisis and the Wealth of Nations 17. Euge! Belle! Dear Mr Smith 18. Dialogue with a Dying Man 19. Settlement in Edinburgh 20. Economic Theorist as Commissioner of Customs 21. Literary Pursuits 22. Times of Hardship and Distress 23. Legacy for Legislators 24. The Precariousness of this Life 25. The Great Change Bibliography **** Adam Smith  1723-90 Smith's conception of ‘economic man’ was primarily a product of his moral philosophy. While defending the motive of self-interest against Hutcheson's ... By Andrew Skinner. From The New Palgrave Dictionary of Economics, Second Edition, 2008--- 1987第一版就是 Andrew Skinner寫的http://www.dictionaryofeconomics.com/search_results?q=adam+smith&edition=current&button_search=GO 亞當·斯密 通信集 北京商務2012 第268號信是空的 由近幾年出版的2本書可知北京的出版單位的編輯和翻譯之質量大退步 不若1983年的. 亚当·斯密傳 亚当·斯密传 放在你的blog里! 译者: 胡企林 / 陈应年 作者: [英]约翰·雷 ISBN: 9787100014168 页数: 553 定价: 23.7 出版社: 商务印书馆 丛书: 世界名人传记丛书 装帧: 平装 出版年: 1983/1998-10-1 简介 · · · · · · 　　本译文所依据的是出版于1965年的原书重印本——也是原书的每一次重印本。在 这重印本中，雅各布·瓦伊纳为原书写了专篇“指南”。“指南”详细地指出原书中所举的一些事实的错误、遗漏、模糊及不确实的地方，以短文注 释的形式对之作了矫正，并进而补充了一结过去研究斯密生平的学者所未解决的问题和所忽视的领域的新材料。 作者简介 · · · · · · 　　约翰·雷（John Rae,1845-1915）是十九世纪末叶英国的一个新闻工作者。他写过两本有关经济学的著作——《现代社会主义》（1884年）；《八小时工作 制》（1894年》——但说不上是一个经济学家。他也不是一个专业传记家，但他却写了这部成为名人传记古典作品的《亚当·斯密传》（1895年）。这本书 在其出版后的大半个世纪中，一直被公认为亚当·斯密这个英国古典经常学最伟大代表之一的最详尽、最优秀的传记。 目录 · · · · · · 序言 第一章 在柯卡尔迪的少年时代 第二章 格拉斯哥大学的学生 第三章 在牛津大学 第四章 在爱丁堡大学担任讲师 第五章 在格拉斯哥大学担任教授 · · · · · · (更多) 序言 第一章 在柯卡尔迪的少年时代 第二章 格拉斯哥大学的学生 第三章 在牛津大学 第四章 在爱丁堡大学担任讲师 第五章 在格拉斯哥大学担任教授 第六章 承提大学行政事务 第七章 同格拉斯哥的市民在一起 第八章 在爱丁堡的活动 第九章 《道德情操论》 第十章 初访伦敦 第十一章 在格拉斯哥的最后一年 第十二章 图卢兹 第十三章 日内瓦 第十四章 巴黎 第十五章 伦敦 第十六章 柯卡尔迪 第十七章 伦敦 第十八章 《国富论》 第十九章 休谟之死 第二十章 再赴伦敦——受任海关专员 第二十一章 在爱丁堡 第二十二章 1778年的书信 第二十三章 爱尔兰自由贸易问题 第二十四章 《国富论》在国内外 第二十五章 斯密接受采访 第二十六章 美国问题及其他政治问题 第二十七章 伯克在苏格兰 第二十八章 人口问题 第二十九章 访问伦敦 第三十章 塞缪尔·罗杰斯的来访 第三十一章 《道德情操论》的修订 第三十二章 最后的日子 约翰·雷著《亚当·斯宇航局传 》指南 译后记 汉英索引 ***** Adam Smith: A Moral Philosopher and His Political Economy: (Great Thinkers in Economics) by Gavin Kennedy

This book presents the authentic Adam Smith and explores his underlying approach and radical thinking, aiming to re-establish his original intentions. It questions modern interpretations, assumptions and attributions relating to Adam Smith's works. Also, it contains Adam Smith's unique understanding of what was really happening in the mid-18th century and what had happened in Western Europe since the 16th century and restores an authentic account of Adam Smith's work in the 18th century both as a moral philosopher and a political economist. This book presents the authentic Adam Smith and explores his underlying approach and radical thinking, aiming to re-establish his original intentions. The book provides a crucial reminder of how relevant Adam Smith was in his own time, and how relevant he remains as we experience the worldwide spread of opulence today.

Most people know of Adam Smith’s Wealth of Nations only by reputation. Readers are a distinct minority. No wonder that false ideas ascribed to Adam Smith continue to circulate in public policy and debate.

Smith’s intellectual legacy was transformed in the 19^th and 20^th centuries, often into the opposite of what he actually recommended. What Smith wrote about that was relevant to his world of mid-18^th century Britain might merit consideration two centuries on, but not by a slavish use of misunderstood quotations isolated from their context.

Smith wrote for the 18^th century. He did not foresee an ‘industrial revolution’ nor did he anticipate ‘capitalism’, neither knowing the words nor the phenomena. He did not consider it appropriate for society to be run by or for ‘merchants and manufacturers’, and nor did he accept that the rich and powerful, including kings, had the right to oppress with punitive laws. He did not encourage laissez faire (two words he never used) because he was aware of the limitations of markets and of the usefulness and limitations of the State, and nor did he support leaving the poor without realistic opportunities of sharing in their country’s wealth.

In short, Smith’s ideas did not qualify him for the phoney cliché title of the ‘High Priest of Capitalism’ or its ‘Apostle’, and neither was he a sort of leftwing, or even moderate, ‘socialist’. He was a firm believer in the positive influence of commerce through trade and exchange in harmonising social and international relations in a society subject to the rule of law, justice and with representative government.

About the author

Gavin Kennedy has taught in universities for 32 years. An economist by education, he has published widely in negotiation behaviour and in defence economics. After graduating from the University of Strathclyde where he studied economics (BA, MSc) he graduated PhD from Brunel University and commenced an academic career, starting as a Lecturer (Brunel), then Senior Lecturer (Strathclyde), retiring as a Professor (Heriot-Watt). In between academic duties he pursued his two interests of defence economics (The Military in the Third World, Duckworth, 1974; The Economics of Defence, Faber 1975; and Burden Sharing in NATO, Duckworth, 1979) and negotiation (Everything is Negotiable, Random House, 1983; Pocket Negotiator, The Economist/ Profile Books, 1993; and Kennedy on Negotiation, 1998, Gower).

Following the fall of Warsaw Pact he took the ‘peace dividend’ and switched from addressing military, diplomatic and defence industry audiences to addressing business leaders and managers on negotiation.

He divides his time between Edinburgh and Bordeaux and spends much of it researching and writing. He is married to Patricia. They have three children and two children from his first marriage, plus five grand children.

亚当·斯密 = Adam Smith (英) 加文·肯尼迪著 苏军译
肯尼迪, G. (Kennedy, Gavin) 著 
《亚当斯密》
（英）加文肯尼迪着，苏军译，华夏出版社，2009年7月第一版这本书的英文版2008年面世，它的英语广告这样写着：本书描述了真实可信的斯密， 探究了斯密基础的思路和激进的思考，意在重构斯密的原本意向。斯密的激进思考，至少包括他在《道德情操论》1789年最后版本提供给读者的解释：“我曾在 本书第一版的最后一段说过，我要在另一本书中努力说明法律和政府的基本原则……”
为什么斯密不继续完成“法学手稿”？在这本书的第五章，读者可以找到答案。
*****

Edition used:

Essays on Philosophical Subjects, ed. W. P. D. Wightman and J. C. Bryce, vol. III of the Glasgow Edition of the Works and Correspondence of Adam Smith (Indianapolis: Liberty Fund, 1982).

• Author: Adam Smith
• Editor: J.C. Bryce
• Editor: William P.D. Wightman

Part of: The Glasgow Edition of the Works and Correspondence of Adam Smith, 7 vols.

• Key to Abbreviations and References
• General Introduction
• Introduction
• The History of Astronomy
• The History of the Ancient Physics and the History of the Ancient Logics and Metaphysics
• The History of Astronomy
• Section I: Of the Effect of Unexpectedness, Or of Surprise
• Section II: Of Wonder, Or of the Effects of Novelty
• Section III: Of the Origin of Philosophy
• Section IV: The History of Astronomy
• Of the External Senses
• Of the Nature of That Imitation Which Takes Place In What Are Called the Imitative Arts/of the Affinity Between Music, Dancing, and Poetry
• Of the Affinity Between Music, Dancing, and Poetry
• Of the Affinity Between Certain English and Italian Verses
• Contributions to the Edinburgh Review of 1755–56 Review of Johnson’s Dictionary a Letter to the Authors of the Edinburgh Review
• Review of Johnson’s Dictionary
• A Letter to the Authors of the Edinburgh Review.
• Appendix: Passages Quoted From Rousseau
• Preface and Dedication to William Hamilton’s Poems On Several Occasions
• Account of the Life and Writings of Adam Smith, Ll.d. From the Transactions of the Royal Society of Edinburgh [read By Mr Stewart, January 21, and March 18, 1793]

 《亞當·斯密哲學文集 》北京商務 2012
 圖書目錄：

天文學的歷史——以天文學史為觀照，論引領並指導 
哲學探索的諸原則 

第一部分論意外或驚訝所產生的影響 
第二部分論好奇或新奇感所產生的影響 
第三部分論哲學的起源 
第四部分天文學的歷史 

古代物理學的歷史——以古代物理學的歷史為觀照，論引領並指導哲學探索的諸原則 
古代邏輯學和形而上學的歷史——以古代邏輯學和形而上學的歷史為觀照，論引領並指導哲學探索的諸原則 
論外在感官 
論所謂模仿藝術中模仿的本質 (台灣協助工業有翻印本)

附錄：論音樂、舞蹈和詩歌之間的類同 

論英語詩歌與意大利語詩歌之間的類同 
評約翰遜的《英語詞典》 
致《愛丁堡評論》創刊人的一封信  
威廉·漢密爾頓《感遇詩集》序言(1748)
威廉·漢密爾頓《感遇詩集》書前獻詞(1758)

A Fighting Chance by Elizabeth Warren 2014；不大好笑的人生：伊莉莎白．華倫卯上華爾街的真實故事 2018

August 24, 2018, 11:14 pm

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≪ Previous: the power of Big Tech. The Theory of Moral Sentiments by Adam Smith. Adam Smith had a more complex view of human action; on the financial crisis；幾本《亚当·斯密傳 》 /《亞當·斯密哲學文集 》/ 通信集Adam Smith: A Moral Philosopher and His Political Economy

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A Fighting Chance Hardcover – April 22, 2014
by Elizabeth Warren (Author)

A NEW YORK TIMES BESTSELLER
An unlikely political star tells the inspiring story of the two-decade journey that taught her how Washington really works―and really doesn't―in A Fighting Chance

As a child in small-town Oklahoma, Elizabeth Warren yearned to go to college and then become an elementary school teacher―an ambitious goal, given her family's modest means. Early marriage and motherhood seemed to put even that dream out of reach, but fifteen years later she was a distinguished law professor with a deep understanding of why people go bankrupt. Then came the phone call that changed her life: could she come to Washington DC to help advise Congress on rewriting the bankruptcy laws?

Thus began an impolite education into the bare-knuckled, often dysfunctional ways of Washington. She fought for better bankruptcy laws for ten years and lost. She tried to hold the federal government accountable during the financial crisis but became a target of the big banks. She came up with the idea for a new agency designed to protect consumers from predatory bankers and was denied the opportunity to run it. Finally, at age 62, she decided to run for elective office and won the most competitive―and watched―Senate race in the country.
In this passionate, funny, rabble-rousing book, Warren shows why she has chosen to fight tooth and nail for the middle class―and why she has become a hero to all those who believe that America's government can and must do better for working families.

不大好笑的人生：伊莉莎白．華倫卯上華爾街的真實故事

A FIGHTING CHANCE： A STORY ABOUT LOSING，LEARNING AND GETTING STRONG

• 作者： 伊莉莎白．華倫  
  
• 原文作者： ELIZABETH WARREN
• 譯者： 卓妙容
• 出版社：早安財經  新功能介紹
• 出版日期：2018/06/27
• 語言：繁體中文

****

　中產階級啊，不是你存不到錢，是他們早就設下陷阱！

　　我叫伊莉莎白・華倫。我是個妻子、母親，外婆。在大半人生裡，我是個老師，現在是美國參議員。

　　這是一本關於我的故事，一個手忙腳亂、麻煩不斷、講笑話不好笑、烤麵包卻烤箱著火的故事，一個關於早婚、離婚、再婚的故事，一個關於母女之間、安親班和狗兒之間、年邁父母和頑皮孫兒之間的故事。

　　但這也是關於你的故事，一個金融業者如何假理財真詐欺、中產階級血汗錢如何遭到吸乾的故事。如果你以為自己的存款很安全，如果你以為政府會替你把關，以為倒楣的噩夢不會降臨到你身上，等你看完我書中的故事，你一定會一身冷汗地笑不出來。

　　這是一個關於我、以及整個中產階級急需金融教育的故事。你會發現，就在你我忙著埋首日常生活、努力工作的同時，有一群人悄悄在國會山莊遊走，把玩法律，把十億百億的財富從你我身上奪走，放入他們自己的口袋，而你渾然不覺。你會發現，他們刻意將金融說得很複雜，複雜到你無法分辨真偽，隨時可能掉入他們所設下的陷阱之中。

　　幸運的是：有時候即使面對極艱難的困境，我們還是能逃脫。我們都要有足夠自信，向錯誤的理財建議說「不」，向包藏禍心的金融商品說「不」，向貪得無厭的財團說「不」。你我都有責任，給孩子的未來一個奮鬥機會，一個他們能夠發展自我、開懷大笑的機會……

各界好評

　　《華盛頓郵報》：“動容！“  《經濟學人》：“有趣極了！”

　　WASHINGTON POST 華盛頓郵報
　　“動容！這本書告訴我們：一個人的力量，真的可以改變世界！“
　　
　　THE NATION 國家雜誌
　　“好書！……坦誠，扣人心弦！”

　　THE ECONOMIST經濟學人
　　“一個很有說服力的故事……把政治說得有趣極了。”

　　THE NEW YORK REVIEW OF BOOKS
　　”書中讓我們目睹她的成長故事……我們都應該認真想想她的話。”

　　THE BOSTON GLOBE 波士頓環球報
　　“緩緩道出，讓人停不下來……說出很多政策背後的秘辛。”

　　BOOKLIST
　　“一部充滿熱情的回憶錄，講述一個女人的故事，也道出金融圈的腐敗，告訴我們為什麼需要改變。”

　　THE NEW YORK TIMES紐約時報
　　“大開眼界！”

　　THE Christian Science Monitor 基督教箴言報
　　“她的人生故事很精采，而且寫得好極了！”

　　THE PUBLISHER WEEKLY
　　“這本回憶錄不是什麼政治宣言……年輕時經濟拮据的她，沒忘記自己吃過的苦……”
 

 

作者介紹

作者簡介

伊莉莎白．華倫  ELIZABETH WARREN

　　麻州資深參議員。曾任哈佛法學院教授，也是經濟議題專家。美國民眾普遍認為她是消費者金融保護局的催生者。她以歐巴馬總統助理的頭銜幫助設立消費者金融保護局。她也擔任過問題資產救助計劃國會五人監督小組的主席，以及國會破產法審查委員會的資深顧問。擁有兩個孩子、三個外孫，現在和丈夫布魯斯・曼恩住在麻州劍橋。

譯者簡介

卓妙容

　　臺灣大學會計系畢業，美國密西根州立大學企管碩士（財務金融﹑專業會計雙主修）。曾任職矽谷科技公司財務部十餘年。喜歡在文字裡悠遊多過在數字裡打滾。現為專職譯者。
 

 

目錄

前言　人生，值得一戰

第1章　多年以前，我長大的那一天
被愛情沖昏頭，手忙腳亂的年輕歲月

第2章　捲入破產法大戰
我的華府初體驗，結果輸慘了

第3章　報告總統，你們救錯人了
逼他講白話文，就會發現他在糊弄你

第4章　一天一百萬美元可以買什麼  
小烤箱，蛇油推銷員與歐巴馬

第5章　終於，小散戶有救了！
消費者金融保護局的攻防內幕

第6章　第一次選參議員就……凍蒜！
踏上政治這條路

後記　一個人人有機會的未來
致謝

收回

 

序

前言

人生，值得一戰

　　我是伊莉莎白．華倫，我是妻子、母親，也是外婆。在過去大半人生裡，我也是個老師，但現在我得介紹自己是美國參議員，雖然每次說出口時仍覺得難以置信。
  
　　這是我的故事。一個充滿感激的故事。
  
　　我的父親是個維修工，母親是希爾斯百貨的接線生。對他們而言，天底下最重要的事莫過於給四個孩子一個光明的未來。幸運的是，我們四人都過得不錯。我大哥唐雷德（Don Reed）投身軍旅二十年，在越南參加過兩百八十八場大大小小的戰爭。二哥約翰在景氣好時是起重機操作員，景氣不好時任何建築工作他都肯做。三哥大衛跟我們比較不一樣，他熱中創業，當一門生意不得不收手時，會立刻著手開創下一個事業，因為他無法想像活在一個無法展現他聰明才智的世界。至於我，則在大學畢業後當了老師，剛開始教的是需要特殊教育的孩子，後來改去教法律系的大學生；參政是我人生中非常後期的事。哥哥們和我全都結婚生子，我父母家的牆上、冰箱上、桌子上擺滿了他們疼愛有加的孫子女照片。
  
　　我一輩子都會感謝父母，他們非常非常努力工作，用盡一切方法拉拔四個孩子長大成人。不過，我們兄妹四人之所以能過得還不錯，也要歸功於我們很幸運地出生在美國，因為政府肯在像我們這樣的孩子身上投資，幫助我們打造一個能成長茁壯的未來。
  
　　然而，令人難以接受的事實是：我們的國家，不再為下一代打造那樣的未來了。
  
　　今天，遊戲規則被操弄，處處有利於那些掌握了金錢與權力的人。那些大財團與國會聯手，在美國稅制上捅出一個大漏洞，海撈了數十億美元；而那些國會議員也竭盡所能，制訂各種有利於大財團的法案。與此同時，一般勞苦家庭卻只能面對現實，不再對孩子的未來懷抱遠大理想。
  
　　我們的國家已經不再像過去那樣，決心為下一代提供可負擔的大學教育與技術訓練。那些曾經幫助我們打造繁榮經濟的基礎建設──橋樑、公路、電力輸送網等──如今破舊不堪。曾經為我們帶來藥物、網路與奈米科技的科學與醫學研究，如今都面臨資金不足的窘境。我們過去所擁有的樂觀，如今不斷受到重擊。

　　他們暗中操弄規則，你不輸才見鬼了
  
　　我們可以不必走到這步田地。
  
　　我決心盡我所能，讓我們國家再度為所有努力工作、奉公守法的人創造成功機會，這個國家足以信賴，而且很公平。這個國家所打造的未來，不是僅專屬於某些孩子，而是「每一位」孩子。在這樣的國家裡，人人都能像當初的我一樣，有「努力一搏的機會」。
  
　　我的故事充滿著不可思議──連我自己都這麼認為。我從沒想過要參選（話說回來，我沒想過的事可多著呢），沒想過要攀登高山，沒想過能在白宮見到總統，沒想過自己有一頭金髮，而這一切全都發生了。
  
　　故事從我的故鄉奧克拉荷馬州開始，接著一路跌跌撞撞經歷了以丈夫、孩子為中心、多次火燒廚房的人生。我大老遠跑去上大學、教書、進入法學院，最後成了大學教授。當我研究得越深入，我越擔心美國家庭面臨的困境，於是我決定第一次投入公共事務，故事的舞台也隨之轉到首府華盛頓。我在一九九五年同意接任當時以為頂多兩年的兼任公職，卻很快又捲進了國家破產法的戰爭。我知道對很多人來說這聽起來很複雜，但基本上這關乎我們政府的存在，到底是為了服務大銀行，還是掙扎求生的一般家庭。
  
　　這場仗打得比我預期的更久──它持續了整整十年。這段期間，我自己也經歷了孩子的畢業典禮、喪禮、外孫子女的誕生。破產法之戰結束後，我又投入了另一場戰役，然後一場又一場，我前後參加了五場大規模的奮戰，其中包括：為因失業或重病而陷入困境的家庭爭取全新的開始、強迫政府公開銀行疏困案的真正細節，我甚至為了惡劣的房貸商品槓上大銀行。雖然方式不盡相同，但在我看來，這五場戰爭都與一個嚴重問題有關，就是：中產階級正在遭受襲擊──不是因為發生了什麼難以避免的天災，而是因為有人在操弄遊戲規則。
  
　　這個故事，跟每一個人都有關，其中有詐欺、有疏困，還有選舉。這個故事，也很私密，有母女關係、有托嬰中心，還有家裡的狗、日漸老去的父母和脾氣彆扭的幼兒。這個故事，關乎失落、教訓與越戰越勇。這個故事，關乎人生值得奮鬥──一個即便是面對強大敵人，我們也能贏的故事。
  
　　我從沒想過自己有一天會成為華府的一份子。老實說，我真的沒想要涉入政治，我只是走到了非得一戰的地步，因為我堅信不管付出什麼代價，我們都必須為所有的孩子帶來一個機會，一個成長與茁壯的機會。
 

Robert Reich

According to Ben White, Politico's chief economic correspondent, Wall Street’s biggest Democratic donors who have helped fund Hillary Clinton’s campaigns over the years are threatening to withhold their cash if she picks Elizabeth Warren as her running mate. So far, Wall Street is Clinton's top source of money, already donating over $28 million.


This is a great argument for Hillary Clinton picking Elizabeth Warren. It would show the public Hillary isn’t in the pocket of the Street.


What do you think?

Wall Street tells Hillary Clinton: We'll cut you off if you pick Elizabeth Warren


Wall Street has an unambiguous message for Hillary Clinton: Don't pick…
CNBC.COM|作者：CNBC

The passion and honesty of her words resonate.


Elizabeth Warren Just Gave the BEST EVER Endorsement of Hillary | BNR


This is a moment millions of Democrats have waited for.


BLUENATIONREVIEW.COM









****

Elizabeth Warren is sincere in her moral indignation, and she came by it the hard way. Her Oklahoma childhood was stalked by financial ruin after her father fell ill. Her career as a scholar of bankruptcy law led her into the public arena, as a campaigner against predatory lenders. What does she want? It’s not the presidency, and for good reason http://econ.st/1esaYd9

What Elizabeth Warren wants

MOST Democrats, presumably, would like to hang on to the White House in 2016. Because convinced liberals are a minority of the American electorate, they will need to...

ECON.ST

Behind Consumer Agency Idea, a Tireless Advocate

By JODI KANTOR

Published: March 24, 2010

WASHINGTON — Ask Elizabeth Warren, scourge of Wall Street bankers, how they treat consumers, and she will shake her head with indignation. She will talk about morality, about fairness, about what she calls their “let them eat cake” attitude toward taxpayers. If she is riled enough, she might even spit out the Warren version of an expletive.

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Stephen Crowley/The New York Times

Elizabeth Warren during an event at the White House in October where President Obama called for new consumer protections and urged Congress to pass regulatory reform legislation.

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Mary F. Calvert for The New York Times

Elizabeth Warren, head of oversight of the Troubled Asset Relief Program, has strongly advocated for middle-class families.

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Mary F. Calvert for The New York Times

Elizabeth Warren with Richard H. Neiman, New York's superintendent of banks, last month.

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Warren Family

Elizabeth Warren, 3, in Norman, Okla. She became a speech therapist, then a lawyer and an expert in bankruptcy law.

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“Dang gummit, somebody has got to stand up on behalf of middle-class families!” she exclaimed in a recent interview in her office here.
Among all the dramatis personae of post-financial crisis Washington, there is no one remotely like Ms. Warren, 60, who has divided the town between those who admire her and those who roll their eyes at her.
She is an Oklahoma native, a janitor’s daughter, a bankruptcy expert at Harvard Law School and a former Sunday School teacher who cites John Wesley — the co-founder of Methodism and a public health crusader — as an inspiration. She brims with cheer, yet she is she is such a fearsome interrogator that Bruce Mann, her husband, describes her as a grandmother who can make grown men cry. Back at Harvard, Ms. Warren’s teaching style is “Socratic with a machine gun,” as one former student put it. In Washington, she grills bankers and Treasury officials just as relentlessly.
Ms. Warren has two roles here: officially, as head of Congressional oversight for the Troubled Asset Relief Program, and unofficially, as chief conceiver of and booster for a new consumer financial protection agency. Fusing those projects and her academic work, she has become the most prominent consumer advocate in years.
In a blitz of television appearances, she offers a story of how 30 years of deregulation has rewarded the financial industry but led to abusive practices and collapses that have hurt ordinary Americans — the same taxpayers who are paying for bank bailouts.
Ms. Warren’s climactic hour begins now: three years after she hatched the idea for the agency, the White House has backed it, the House of Representatives has approved it and it is a top Democratic priority in the Senate.
Many fans, including Representative Barney Frank, Democrat of Massachusetts, hope Ms. Warren will run it. But even if the agency is approved, it might be far weaker than what she envisioned, thanks to fierce opposition from the financial industry.
Critics argue that such an agency, which would regulate mortgages, credit cards and nearly all other loans to consumers, would tighten credit in an already tight market, stifle innovation and hurt small businesses.
They have another objection as well: to Ms. Warren herself. As one administration official acknowledged, the prospect of her running the new agency may be an impediment to its creation because of her crusading style, her seemingly visceral loathing of financial services companies and her expansive way of interpreting assignments.
“ ‘Loose cannon’ would be an appropriate term to apply in her case,” said Dean Baker, co-director of the Center for Economic and Policy Research and a Warren supporter.
The defining event of Elizabeth Warren’s life may have taken place before she was born, when a business partner ran off with the money her father had scraped together to start a car dealership. She arrived a few years later, in 1949, another mouth for a strapped family to feed. But she used that mouth to talk her way into a debate scholarship at George Washington University at age 16.
She became a speech therapist, then a lawyer — she hung a shingle and did wills and real estate closings — then a part-time law instructor, and finally a leading scholar of bankruptcy. Her research helped change the stereotype of bankrupt people as feckless deadbeats: many, she showed, are middle-class workers upended by divorce or illness.
While Ms. Warren was building her career, her father became a maintenance man and her three older brothers back in Oklahoma worked in construction, car repair and the oil fields. Among them, they have endured all manner of financial crisis, including foreclosure, according to Ms. Warren’s husband.
“I learned early on what debt means, how vulnerable it makes people, what the security of owning a home means,” Ms. Warren said, her eyes welling. Even today, said Ms. Warren’s daughter, Amelia Warren Tyagi, her mother is so frugal that she eats shriveled grapes out of the fruit bowl.
Six years ago, Ms. Warren was one of the few guests at a Harvard Law School faculty reception for Barack Obama, an alumnus then running for a United States Senate seat in Illinois. He greeted her with two words: “predatory lending,” signaling he knew her work. He began to talk about dicey mortgages and abusive credit products and their shattering effect on families, Ms. Warren recalled. Finally, she cut him off.
“You had me at ‘predatory lending,’ ” she said. A few years later, Mr. Obama was promoting her idea for a consumer agency on the presidential campaign trail.
Meanwhile, in October 2008, Harry Reid, the Senate majority leader, called out of the blue and asked Ms. Warren to head Congressional oversight of the bank bailout. It was a vague job, sketched out in a hurry, but she interpreted her mandate aggressively. Instead of issuing standard monthly reports, she turned them into independent research projects, bulletins and videos asking pointed questions about Treasury’s treatment of the banks.
At the same time, banking lobbyists and other business-financed groups threw their weight against the consumer agency proposal — and they complained about Ms. Warren as well. (Wayne Abernathy, a lobbyist for the American Bankers Association, declined to comment for this article but recently asked if the TARP oversight panel had become “the new Warren commission.”)
“She comes at the world from the perspective that she knows what’s good for people,” said Douglas Baird, from University of Chicago Law School, who said he shared Ms. Warren’s concerns but not always her views. “She starts with a skepticism of markets and a skepticism of the ability of consumers to make sensible choices.”
The TARP project also complicated Ms. Warren’s ties to the Obama administration. The president lights up when her consumer protection ideas are discussed, according to Diana Farrell, deputy director of the National Economic Council. Likewise, David Axelrod, a White House senior adviser, effused about Ms. Warren in an interview by phone, using the word “passionate” over and over.
Her relationship with Treasury is chillier. In private, she has worked closely with some officials there on regulatory reform. But in her oversight role, she pounds the agency, leading some to accuse her of showboating or breeding cynicism about a program functioning better than many expected.
“I’m a thorn in this administration’s side as much as in the last administration’s side,” she said.
She will not comment on whether she might head the agency, for the same reason administration officials will not. “What we’re trying to do is build an institution that’s over and above any individual,” Ms. Farrell said.
Ms. Warren does say that if she and the administration lose on the agency’s passage, she’d like them to lose big — to force lawmakers, as she puts it, to leave “lots of blood and teeth” on the floor.
If that happens, Ms. Warren will still have her own platform, starting with her nearly constant stream of television appearances. Hosts and cameramen love her: she has the friendly face of a teacher, the pedigree of a top law professor, the moral force of a preacher and the plain-spoken twang of an Oklahoman.
“This is America’s middle class,” she recently said on “The Daily Show With Jon Stewart.” “We’ve hacked at it and pulled at it and chipped at it for 30 years now, and now there’s no more to do. We fix this problem going forward, or the game really is over.”
“When you say it like that and you look at me like that, I know your husband is backstage, I still want to make out with you,” Mr. Stewart responded.
If no agency or government post materializes, Ms. Warren says she will happily return to Harvard. Others expect her to do more, including Eliot Spitzer, the former New York governor who has come to know her through their shared interest in consumer advocacy.
“Plan B is to become Ralph Nader,” he said.

Ben Werschkul contributed reporting.

Brighton Rock at 80

August 24, 2018, 11:27 pm

≫ Next: Tom Wolfe, From Bauhaus to Our House (1981從包浩斯到我們的房子 )

≪ Previous: A Fighting Chance by Elizabeth Warren 2014；不大好笑的人生：伊莉莎白．華倫卯上華爾街的真實故事 2018

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Times Literary Supplement

11 小時 · 

'It is eighty years since the Brighton bookshops bloomed with the stripy pink jackets of what remains the most celebrated novel set in the town'

THE-TLS.CO.UK

This damned thriller: Brighton Rock at 80

Graham Chainey considers the symbiotic relationship between Graham 

Brighton Rock is a novel by Graham Greene, published in 1938, and later made into films, a 1947 film and a 2010 film. The novel is a murder thriller set in 1930s Brighton. The title is a reference to a confectionery traditionally sold at seaside resorts, used as a metaphor for human character. The novel ties into Greene's earlier 'entertainment' A Gun for Sale, Raven's murder of mob boss Kite, mentioned in A Gun For Sale, allows Pinkie to take over his mob and thus sets the events of the novel in motion.


2012年才真正開始讀這本
今天 研究一下英國的海邊名勝地 Brighton 因為想讀七零年代末該讀而未讀的小說 BrightonRock 
我去過Brithon一次 不過小說第一頁的路線圖卻完全沒印象 所以多查一下 沒想到該城市變化甚大 Brighton Rock 一書所談的地理背景是兩次大戰之間的Brighton 現在改建很多

資料庫收有牛津文學英國和愛爾蘭 

Oxford Guide to Literary Britain & Ireland:Brighton and Hove

Read more: http://www.answers.com/topic/brighton-hove#ixzz1t7bYxhn2

從S JOHNSON與該地因緣說起 很有意思

讀到下句 我去查牛津美國英文辭典 發現 bolt·hole在英國就是兔子等用來逃脫的穴路或濄
我才知道BOLT還有其他意思 不只是螺絲等等
Alan Brownjohn's poem ‘A Brighton’ makes engaging use of the town's reputation as a secret bolthole for Londoners:
"‘Brighton’: not far, a lie or an excuse
Like dental checks or grandmothers' funerals.
‘Did you have a nice day at Brighton?’ asks the master
Receiving a boy's forged note about his cold.


昨晚臨睡前讀的.有些字眼只母語的人能用: tip,  flutter

' I like a flutter myself, could you give me a tip, I wonder, for Brighton on Saturday?'
'Black Boy,' Hale said,'in the four o'clock.'
'He's twenty to one.'
Hale looked at her with respect. 'Take it or leave it.'
---Brighton Rock  by Graham Greene

flutter
6 ((英俗))少額を賭(か)ける.

Brighton, Brighton Rock

2013.4.3 HBO

Theatrical release poster
Directed by	Rowan Joffé
Produced by	Paul Webster
Screenplay by	Rowan Joffé
Based on	Brighton Rock by Graham Greene

Brighton Rock is a 2010 British crime film loosely based on Graham Greene's 1938 novel of the same name. Rowan Joffé wrote the screenplay and directed the film, which stars Sam Riley, Andrea Riseborough, Andy Serkis, John Hurt, and Helen Mirren.
The novel was previously made into a film in 1947 by the Boulting brothers under the same title. Although the novel and original film are both set in the 1930s, the 21st century adaptation takes place in Brighton and is set during the Mods and Rockers era of the 1960s.^[3][4]

In 1964, Pinkie Brown, a sociopathic member of a Brighton gang, murders a man who has himself killed the gang leader, Kite. He befriends Rose, a young waitress who witnessed the gang's activity, to keep an eye on her. She falls in love with him. To prevent her being compelled to give evidence against him, he marries her. Ida (Rose's employer and a friend of the man killed by Pinkie) takes it upon herself to save the girl from the monster she has married.
Rowan Joffé was originally uninterested in the project, which as first proposed was to be a remake of the film, but after re-reading the novel, Joffé "fell absolutely in love with the character of Rose" and convinced the studio to let him adapt the novel directly.^[5] Joffe later explained why he did his own adaptation of the novel:^[5]

The novel was worthy of a contemporary adaptation. In fact, it makes it almost more dutiful as a filmmaker if you love the novel, to bring it to life without the restriction of censorship. I mean, a lot of the Catholicism was cut out of the original film because they didn’t want to offend Catholics... there are aspects of the film where if critics were to be honest about, and few of them have been certainly in England, that the 1947 version is a rather tame adaptation and certainly fails to do justice to the character of Rose, because the original black and white was made in a period where we were culturally and politically very patronising to women.

Tom Wolfe, From Bauhaus to Our House (1981從包浩斯到我們的房子 )

August 25, 2018, 5:02 am

≫ Next: Friedrich Engels, 《英國工人階級狀況》；( Friedrich) Engels By David McLellan 恩格斯傳； 烏克蘭的恩格斯雕像，胡不魂歸曼徹斯特。

≪ Previous: Brighton Rock at 80

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看Wikipedia， Tom Wolfe 的著作，似乎只有一本From Bauhaus to Our House (1981)有漢譯。


日本情形

作品[編集]

小説[編集]

• 『虚栄の篝火』The Bonfire of the Vanities (1987)　中野圭二訳、文藝春秋（上下）、1991
• 『成りあがり者』A Man in Full (1998)　古賀林幸訳、文春文庫（上下）、2000
• I Am Charlotte Simmons (2004)

ノンフィクション[編集]

• 『クール・クール LSD交感テスト』The Electric Kool-Aid Acid Test (1968) 飯田隆昭訳　太陽社 1971
• 『現代美術コテンパン』The Painted Word (1975) 高島平吾訳 晶文社 1984
• 『そしてみんな軽くなった トム・ウルフの1970年代革命講座』 青山南訳 大和書房 1985。ちくま文庫 1990　
• 『ザ・ライト・スタッフ』The Right Stuff (1979) 中野圭二・加藤弘和訳 中央公論社＋中公文庫
• 『バウハウスからマイホームまで』 From Bauhaus to Our House (1981)　諸岡敏行訳 晶文社 1983
• 『ワイルド・パーティへようこそ トム・ウルフ集』 高島平吾訳 (アメリカ・コラムニスト全集) 東京書籍 1992

出典[編集]

1. ^ 『Tom Wolfe, Pyrotechnic Nonfiction Writer and Novelist, Dies at 87』 2018年5月16日 ニューヨーク・タイムズ

• Bloom, Harold, ed. (2001), Tom Wolfe (Modern Critical Views), Philadelphia: Chelsea House Publishers, ISBN 0-7910-5916-2
• McKeen, William. (1995), Tom Wolfe, New York: Twayne Publishers

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

小湯瑪斯·甘乃利·沃爾夫（英語：Thomas Kennerly Wolfe, Jr.，1930年3月2日－2018年5月14日）出生於美國維吉尼亞州里奇蒙，為美國作家和記者，1950年代後期開始，沃爾夫致力於新新聞寫作，被譽為「新新聞主義之父」。^[1]

生平

1930年，沃爾夫出生在美國維吉尼亞州里奇蒙，母親路易莎，是園藝師；父親湯瑪斯·肯尼利·沃爾夫，是農學家。^[2]

沃爾夫在聖克里斯多夫的學校讀書時，是學生會主席和棒球隊的球員，同時他信奉聖公會。

1949年，沃爾夫拒絕了美國普林斯頓大學的錄取，去了華盛頓與李大學，在學校里，沃爾夫主修英語，同時在寫作教室練習寫作。沃爾夫是大學裡體育報的編輯，並且幫助大學建立了雜誌《謝南多厄》。1951年，沃爾夫以優異的成績從學校畢業。

1952年，沃爾夫去耶魯大學攻讀美國研究博士學位，並於1957年以題為《美國作家聯盟：1929-1942年間美國作家的共產黨組織活動》的博士論文獲哲學博士學位。

個人生活

沃爾夫和妻子希拉居住在美國紐約州紐約市，他有個女兒叫亞歷山德拉，他的兒子叫湯米。沃爾夫是一個無神論者。^[3]

風格

沃爾夫的文風潑辣大膽，擅長使用俚語、俗語和自己創造詞彙。沃爾夫能捕捉到現實生活的時尚文化和普通大眾的生存狀態，諷刺美國社會。^[4]

作品

散文集、 報告文學[編輯]

• 《糖果色橘片樣流線型寶貝車》（The Kandy-Kolored Tangerine-Flake Streamline Baby；1965）
• 《刺激酷愛迷幻考驗》（The Electric Kool-Aid Acid Test；1968年）
• 《泵房幫》（The Pump House Gang；1968)
• 《激進政治時尚族 大反貪官矛矛黨》（Radical Chic and Mau-Mauing the Flak Catchers；1970年）
• 《新新聞主義》（The New Journalism；1973) (Ed. with EW Johnson)
• Mauve Gloves & Madmen, Clutter & Vine (1976)
• 《真材實料》（The Right Stuff；1979年）
• 《在我們的時代》（In Our Time；1980年）
• 《畫出來的箴言》（The Painted Word；1975年）
• 《從鮑豪斯到百姓家》（From Bauhaus to Our House by Tom Wolfe；1981年）

  從包浩斯到我們的房子 ；

  翻譯者  ／  祝仲華

  出版社 ／ 風格出版社等

本書在1981年剛出版時，曾經被選為全美的暢銷書。作者Tom Wolfe是紐約著名的藝術評論家，以輕鬆、幽默、嘲諷的口吻，大膽地評論美國建築界的「殖地心態」，從十八世紀、十九世紀開始，對歐洲建築形式的沿用抄襲，從布雜藝術到包浩斯。四Ｏ年代，歐洲提出的建築理論，「少即是多」、「零即是無限」，貫穿整個美國的現代建築，所有美國的建築師，無不如將包浩斯的領袖葛羅畢斯，奉為「白色的神祇」，並且火如荼地加入這場聖戰。然而，本書最終的目的，是希望建築師能夠將建築意識，從對外國主義的盲目崇拜，攜回對於「鄉土主義」的嘗試。

• The Purple Decades (1982)
• Hooking Up (2000)
• 《話語王國》（The Kingdom of Speech；2016年）

小說[編輯]

• 《名利之火》（The Bonfire of the Vanities；1987年）
• 《完美之人》（A Man in Full；1998年）
• I Am Charlotte Simmons (2004)
• Back to Blood (2012)

Bibliography[edit]

Non-fiction[edit]

• The Kandy-Kolored Tangerine-Flake Streamline Baby (1965)
• The Electric Kool-Aid Acid Test (1968)
• The Pump House Gang (1968)
• Radical Chic & Mau-Mauing the Flak Catchers (1970)
• The New Journalism (1973) (Ed. with EW Johnson)
• The Painted Word (1975)
• Mauve Gloves & Madmen, Clutter & Vine (1976)
• The Right Stuff (1979)
• In Our Time (1980)
• From Bauhaus to Our House (1981)
• The Purple Decades (1982)
• Hooking Up (2000)
• The Kingdom of Speech (2016)

Novels[edit]

• The Bonfire of the Vanities (1987)
• A Man in Full (1998)
• I Am Charlotte Simmons (2004)
• Back to Blood (2012)

Featured in[edit]

• The Sixties (2014)
• Smiling Through the Apocalypse (2013)
• Salinger (2013)^[56]
• Felix Dennis: Millionaire Poet (2012)
• Tom Wolfe Gets Back to Blood (2012)
• A Light in the Dark: The Art & Life of Frank Mason (2011)
• Bill Cunningham New York (2010)
• Gonzo: The Life and Work of Dr. Hunter S. Thompson (2008)
• Buy the Ticket, Take the Ride: Hunter S. Thompson on Film (2006)
• Annie Leibovitz: Life Through a Lens (2006)
• Breakfast with Hunter (2003)
• The Last Editor (2002)
• Dick Schaap: Flashing Before my Eyes (2001)
• Where It's At: The Rolling Stone State of the Union (1998)
• Peter York's Eighties: Post (1996)
• Bauhaus in America (1995)
• Manufacturing Consent: Noam Chomsky and the Media (1992)
• Superstar: The Life and Times of Andy Warhol (1990)
• Spaceflight (1985)
• Up Your Legs Forever (1971)

Notable articles[edit]

• "The Last American Hero Is Junior Johnson. Yes!" Esquire, March 1965.
• "Tiny Mummies! The True Story of the Ruler of 43rd Street's Land of the Walking Dead!" New York Herald-Tribune supplement (April 11, 1965).
• "Lost in the Whichy Thicket," New York Herald-Tribune supplement (April 18, 1965).
• "The Birth of the New Journalism: Eyewitness Report by Tom Wolfe." New York, February 14, 1972.
• "The New Journalism: A la Recherche des Whichy Thickets." New York, February 21, 1972.
• "Why They Aren't Writing the Great American Novel Anymore." Esquire, December 1972.
• "The Me Decade and the Third Great Awakening" New York, August 23, 1976.
• "Stalking the Billion-Footed Beast", Harper's. November 1989.
• "Sorry, but Your Soul Just Died." Forbes 1996.
• "Pell Mell." The Atlantic Monthly (November 2007).
• "The Rich Have Feelings, Too." Vanity Fair (September 2009).

The New York Review of Books (or NYREV or NYRB) is a semi-monthly magazine^[2] with articles on literature, culture, economics, science and current affairs. Published in New York City, it is inspired by the idea that the discussion of important books is an indispensable literary activity. Esquire called it "the premier literary-intellectual magazine in the English language."^[3] In 1970 writer Tom Wolfe described it as "the chief theoretical organ of Radical Chic".^[4]

Financial Times

18小時 · 

'Tom Wolfe’s great coup was to sense before anyone else that counter-culture was becoming the culture.'

Tom Wolfe, journalism’s great anti-elitist

The late writer skewered the rich, while living among them

FT.COM

Friedrich Engels, 《英國工人階級狀況》；( Friedrich) Engels By David McLellan 恩格斯傳； 烏克蘭的恩格斯雕像，胡不魂歸曼徹斯特。

August 25, 2018, 9:00 am

≫ Next: Jacques Le Goff ；The Medieval Imagination, 《試談另一個中世紀~~西方的時間、勞動和文化 》《聖路易》(Saint. Louis. 1214-70)《 中世紀的知識份子》《中世紀大學》新史學《钱袋与永生：中世纪的经济与宗教》/《中世紀大學 》Jacques Verger

≪ Previous: Tom Wolfe, From Bauhaus to Our House (1981從包浩斯到我們的房子 )

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BBC World Service

3分鐘 · 

A champagne-loving industrialist and a radical revolutionary, Friedrich Engels led a colourful life full of contradictions.

Download/listen: 📻 https://bbc.in/2wiU8YP

BBC.CO.UK

Friedrich Engels: The man behind Karl Marx

The Economist

Karl Marx is often named as one of the most important thinkers of the 19th century. But it was Friedrich Engels, his co-author and friend, who edited Marx's works after his death and opened them up to much more radical interpretations

The self-effacing friend who enabled “Das Kapital” to be written

Engels was born on November 28th 1820

ECONOMIST.COM

Kuohsun Shih 分享了中文馬克思主義文庫的相片。

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

中文馬克思主義文庫說這專頁讚

6小時 · 

【報導一則：恩格斯回到了曼徹斯特市！】

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

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

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

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

#恩格斯 #恩格斯雕像 #英國工人階級狀況

照片來源：美國《雅各賓雜誌》（Jacobin magazine）臉書

David McLellan 1977恩格斯傳北京：中國人民大學，2017

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

Born: November 28, 1820, Barmen, Germany

Died: August 5, 1895, London, United Kingdom

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

Movies: Too Early/Too Late

Quotes

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

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

An ounce of action is worth a ton of theory.

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

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

Jacques Le Goff ；The Medieval Imagination, 《試談另一個中世紀~~西方的時間、勞動和文化 》《聖路易》(Saint. Louis. 1214-70)《 中世紀的知識份子》《中世紀大學》新史學《钱袋与永生：中世纪的经济与宗教》/《中世紀大學 》Jacques Verger

August 25, 2018, 11:47 pm

≫ Next: A Broken Hallelujah: A wonderful biography exploring Leonard Cohen's life, work and passion.Book of Looking By Leonard Cohen and others 渴望之書 及其他

≪ Previous: Friedrich Engels, 《英國工人階級狀況》；( Friedrich) Engels By David McLellan 恩格斯傳； 烏克蘭的恩格斯雕像，胡不魂歸曼徹斯特。

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《試談另一個中世紀~~西方的時間、勞動和文化 》

• ISBN13：9787100101356
• 出版社： 商務印書館(大陸)
• 作者：(法)雅克•勒高夫
• 裝訂／頁數：平裝／516頁
• 規格：20.8cm*14.6cm (高/寬)
• 出版日：2014/06/01

本書是雅克•勒高夫（法語：Jacques Le Goff，1924年1月1日－2014年4月1日）的歷史方面專著。本書以時間、勞動與文化為切入點為讀者重新描繪了一幅中世紀圖景。作者生於法國土倫，歷史學者，專長於12至13世紀歐洲中世紀史。他是年鑒學派第三代代表人物之一。

好書推薦：試談另一個中世紀:西方的時間、勞動和文化- 壹讀

****

Influential medieval historian Jacques Le Goff dies aged 90 ...

www.theguardian.com › News› World news› France

Apr 1, 2014 - Jacques Le Goff in 1978. He was editor-in-chief of the journal Annales – the bible of historians who stress long-term social research.

Jacques le Goff - obituary - Telegraph

www.telegraph.co.uk › News› Obituaries

Apr 13, 2014 - Jacques le Goff was a French historian who believed the Middle Ages was a time of progress and purgatory.

然而在1974年諾哈與年鑑學派布勞岱的接班人勒果夫（Jacques Le Goff）共同主編出版的《歷史之製作》（Faire de l’histoire）三冊書中，不管是「新問題」、「新取徑」或「新對象」，都尚未見到相關的專題討論。


HC 的回覆　2006-11-15 11:31:14

無意中翻到幾年前買的名著： Jacques Le Goff 著《聖路易》(Saint. Louis. 1214-70) 【許明龍譯，北京：商務., 2002 】，製作翻譯都用心，附索引。就看看它。跌入中世紀之時空。
趁 機讀些相關之資訊。譬如說，The Oxford Dictionary of Saints 說保皇派都選「路易十四」（他的傳記，可參考北京商務翻譯的伏爾泰作品）當模範而非他。其中 "….it is perhaps a matter of regret that French royalists often looked for inspiration to the reign of Louis XIV rather than to his…."
2010.6.20
撿讀楊澤博士的 New York Review of Books ，才知道這本書現在(2009?2010?)才有英文本。

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這本書還沒買

不過 喜歡這"叢書"的"緣起 (下文缺) 希望輔仁大學歷史系加油

{本系「本篤會柯立德神父獎學金」獎助出版優良碩士論文已經出版。}

所以必須一記




鑑學派歷史學家勒高夫（Jacques Le Goff）--書和書，以及其他: 年鑑學派歷史學家勒高夫訪談 -

雅克．勒高夫的法式新史學

• 作者：鄭智鴻
• 出版社：唐山
• 出版日期：2007年11月01日
• 語言：繁體中文 ISBN：9789867021724
• 裝訂：平裝

若想了解法式風格的新史學－「年鑑學派」－的整體內涵，便不可忽略雅克．勒高夫這號人物。通曉了勒高夫教授的新史學，也就大致掌握了20世紀年鑑學派發展的來龍與去脈。
勒 高夫教授是年鑑史學繼布勞岱爾（Fernand Braudel,1902-1985）之後的第三代主要傳人、發揚光大者與革新者，也是巴黎高等社會科學院的創立者。通曉歐美多種語言的他，對歷史滿懷熱 情，勇於實驗與提倡不同的跨學科研究方法，更以將近60年之久、博學又富創意的歐洲中世紀史研究成績享譽國際學界，甚至還倡導「漫長又另類的中世紀」，一 再刷新人們對中世紀的印象。不僅如此，他還培育出諸多優秀史家，同時也善於結合媒體來行銷與普及歷史知識，堪稱是位精力充沛的學者。
　　本書將帶您了解這位歷史達人的法式新史學與他的時代經歷、個人生命經驗、以及年鑑史家之間到底有著什麼樣的牽連；而您也將發現，他又是如何繼承與重塑一份史學傳統。
作者簡介
鄭智鴻
生於1978年，輔仁大學法文學系，歷史學輔系，歷史學系碩士班畢業。

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Jacques Le Goff 有中世紀的知識份子一書
中世紀的知識份子 北京:商務1996/1999

Intellectuals in the Middle Ages

Jacques Le Goff - 1993 - 194 頁 -無預覽 Examines the creation of universities in the cities of Europe during the Middle Ages and discusses how medieval intellectuals ensured that the luxury of learning ceased to be limited to the Church and the Court

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The Medieval Imagination - Google 圖書結果

Jacques Le Goff - 1992 - History - 302 頁
"--M. T. Clanchy, Times Literary Supplement The collection begins with an essay on 'the marvelous.


Max Weber 應有兩處不過 Google 書內搜索只出現第一處---不同意工作之"宗教"只與新教相關
而在宗教改革數百年前的托鉢修道士會

第二處是反對"禁欲"與資本主義的關係

****

中世紀大學.雅克韋爾熱- LES UNIVERSITES AU MOYEN AGE by JACQUES VERGER, 1973 上海人民出版社，2007
本書譯文不很清楚...

Les universités au Moyen Age [Broché]

Jacques Verger(Auteur)

• Broché: 226 pages
• Editeur : Presses Universitaires de France - PUF (18 avril 2007)

【圖書簡介】
　　本書從中世紀大學的“思想” 作用（思想的產 生）和“職業”作用（人的培養）出發，關注中世紀大學機構的運行，了解大學成員如何匯聚并生活于其中，考察這個智力活動的社會與機構的基礎，分析中世紀大 學同當時社會所建立的聯系，從而試圖構建中世紀文化的社會學。書中提出的主要思想，如關于中世紀大學誕生于12世紀初和13世紀初的機構的與精神的雙重變 革的思想；關于中世紀大學盡管脆弱卻催生了最初的人文環境的思想；關于對中世紀大學的控制很早便構成教會、君王和城市的政治賭注的思想；關于中世紀大學對 于文化整體面貌的變革，對于歐洲社會精英的構成與功能均有重大影響的思想，都有重要的學術意義。

【作者簡介】
　　雅克·韋爾熱，法國巴黎大學中世紀史教授，國際大學史委員會副主席，中世紀晚期文化和教育史的專家。

【本書目錄】
序言
第一部分 大學的誕生與確認（12-13世紀）
第一章 大學之源
一、12世紀初西方的學校
二、12世紀的文藝復興
三、最早的大學
四、“自發的”大學和“創建的”大學
第二章 大學如行會
一、機構與特許權
二、教學組織
三、大學歷史的社會層面
第三章 13世紀的問題與沖突
一、托缽會修士和世俗教師
二、經院哲學的頂峰與危機
第二部分 中世紀末（14-15）：衰退乎？變革乎？
第四章 大學與教會
一、大學神學的失敗
二、教會中的法學家
第五章 大學與國家
一、君主創辦大學
二、供職于國家
三、大學與政治
四、大學自治的終結
第六章 大學與社會
一、富人與窮人
二、科學與貴族
三、科學與工作
結語
后記 未注明何年
參考文獻
譯名對照表

钱袋与永生：中世纪的经济与宗教

作　　者：（法）勒高夫（Goff，J.L.）　著，周嫄　译
出 版 社：上海人民出版社
出版时间：2007-4-1


自 中西文明发生碰撞以来，百余年的中国现代文化 建设即无可避免地担负起双重使命。梳理和探究西方文明的根源及脉络，已成为我们理解并提升自身要义的借镜，整理和传承中国文明的传统，更是我们实现并弘扬 自身价值的根本。此二者的交汇，乃是塑造现代中国之精神品格的必由进路。世纪出版集团倾力编辑世纪人文系列丛书之宗旨亦在于此。
　　世纪人文系列丛书包涵“世纪文库”、“世纪前沿”、“袖珍经典”、“大学经黄”及“开放人文”五个界面，各成系列，相得益彰。
　 　“厘清西方思想脉络，更新中国学术传统”，为“世纪文库”之编辑指针。文库分为中西两大系统。中学书系由清末民初开始，全面整理中国近现代以来的学术著 作，以期为今人反思现代中国的社会精神处境铺建思考的进阶；西学书系旨在从西方文明的整体进程出发，系统译介自古希腊罗马以降的经典文献，借此展现西方思 想传统的生发流变过程，从而我们返回现代中国之核心问题奠定坚实的文本基础。
在金钱与地狱之间：高利贷与高利贷者
钱袋：高利贷
偷时间的人
高利贷者与死亡
钱袋与永生：炼狱
“心也有泪”
附录
书目

Intellectuals in the Middle Ages

中世紀的知識份子 北京:商務1996/1999

Jacques Le Goff 新史學

The Medieval Imagination:Jacques Le Goff

• 　雅克·勒高夫《聖路易》St. Louis

Jacques Le Goff (born 1 January 1924 in Toulon) is a prolific Frenchhistorian specializing in the Middle Ages, particularly the 12th and 13th centuries.
Le Goff champions the Annales School movement, which emphasizes long-term trends over the topics of politics, diplomacy, and war that dominated 19th century historical research. From 1972 to 1977, he was the head of the École des hautes études en sciences sociales (EHESS). He was a leading figure of New History, related to cultural history. Le Goff argues that the Middle Ages formed a civilization of its own, distinct from both the Greco-Roman antiquity and the modern world.

Contents[hide] 1Life and writings 2Selected bibliography 2.1Works 3Notes 3.1References 4External links

Life and writings

A prolific medievalist of international renown, Le Goff is sometimes considered the principal heir and continuator of the movement known as Annales School (École des Annales), founded by his intellectual mentor Marc Bloch. Le Goff succeeded Fernand Braudel in 1972 at the head of the École des hautes études en sciences sociales (EHESS) and was succeeded by François Furet in 1977. Along with Pierre Nora, he was one of the leading figure of New History (Nouvelle histoire) in the 1970s.
Since then, he has dedicated himself to studies on the historical anthropology of Western Europe during medieval times. He is well-known for contesting the very name of "Middle Ages" and its chronology, highlighting achievements of this period and variations inside it, in particular by attracting attention to the Renaissance of the 12th century.
In his 1984 book The Birth of Purgatory, he argued that the conception of purgatory as a physical place, rather than merely as a state, dates to the 12th century, the heyday of medieval otherworld-journey narratives such as the Irish Visio Tnugdali, and of pilgrims' tales about St Patrick's Purgatory, a cavelike entrance to purgatory on a remote island in Ireland.^[1]
An agnostic, Le Goff presents an equidistant position between the detractors and the apologists of the Middle Ages. His opinion is that the Middle Ages formed a civilization of its own, distinct of both the Greco-Roman antiquity and the modern world.
Among his recent works are two widely accepted biographies, a genre his school did not usually favor: the life of Louis IX, the only King of France to be canonized, and the life of Saint Francis of Assisi, the Italian mendicant friar.
In 2004 Le Goff received the Dr. A.H. Heineken Prize for History from the Royal Netherlands Academy of Arts and Sciences.^[2]

Selected bibliography

Works

• Time, Work, &Culture in the Middle Ages, translated by Arthur Goldhammer. (Chicago & London: University of Chicago Press, 1980)
• Constructing the Past: Essays in Historical Methodology, edited by Jacques Le Goff and Pierre Nora. (Cambridge: Cambridge University Press, 1985)
• The Medieval Imagination, translated by Arthur Goldhammer. (Chicago & London: University of Chicago Press, 1988)
• Your Money or Your Life: Economy and Religion in the Middle Ages, translated by Patricia Ranum. (New York : Zone Books, 1988)
• Medieval Civilization, 400-1500, translated by Julia Barrow. (Oxford: Blackwell, 1988)
• The Medieval World, edited by Jacques Le Goff, translated by Lydia G. Cochrane. (London: Parkgate, 1990)
• The Birth of Purgatory, translated by Arthur Goldhammer. (Aldershot: Scolar Press, 1990)
• History and Memory, translated by Steven Rendall and Elizabeth Claman. (New York: Columbia University Press, 1992)
• Intellectuals in the Middle Ages, translated by Teresa Lavender Fagan. (Oxford: Blackwell, 1993)
• Saint Louis (Paris: Gallimard, 1996)
• Saint Francis of Assisi, trans. Christine Rhone (London: Routledge, 2003)
• The Birth of Europe, translated by Janet Lloyd. (Oxford: Blackwell, 2005)

Notes

1. ^purgatory, page 4 of 6
2. ^Press release at KNAW website

References

• Miri Rubin, ed. The Work of Jacques Le Goff and the Challenges of Medieval History (Cambridge: Boydell, 1997).
• Utz, Richard. "'Mes souvenirs sont peut-être reconstruits': Medieval Studies, Medievalism, and the Scholarly and Popular Memories of the 'Right of the Lord's First Night,'"Philologie im Netz 31 (2005), 49-59. (on Le Goff's autobiographical A la recherche du moyen age. Paris: Louis Audibert, 2003).

External links

• Dan David Prize laureate 2007,
• Did St Louis really exist?
• The history of innovation and revolt
• Il Medioevo Europeo di Jacques Le Goff

A Broken Hallelujah: A wonderful biography exploring Leonard Cohen's life, work and passion.Book of Looking By Leonard Cohen and others 渴望之書 及其他

August 26, 2018, 1:45 am

≫ Next: 　雅克·勒高夫《聖路易》St. Louis

≪ Previous: Jacques Le Goff ；The Medieval Imagination, 《試談另一個中世紀~~西方的時間、勞動和文化 》《聖路易》(Saint. Louis. 1214-70)《 中世紀的知識份子》《中世紀大學》新史學《钱袋与永生：中世纪的经济与宗教》/《中世紀大學 》Jacques Verger

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Leonard Cohen 1934~2016 - Wikipedia

Episode 1

Book of the Week,A Broken Hallelujah: Leonard Cohen's Secret ChordEpisode 1 of 5

As Leonard Cohen turns 80, a new biography by Liel Leibovitz explores the life, work and passion of the poet-turned-musician. What makes Cohen such an enduring international figure in the cultural imagination?

Granted extraordinary access to Cohen's personal papers, Leibovitz evokes a complicated, sometimes contradictory figure. Born into a Canadian religious Jewish family, for years a reclusive lyricist on the Greek island of Hydra, known for his bold political commentary, his devotion to Buddhist thought and his later despair over contemporary Zionism, Cohen hardly follows the rules of a conventional rock star.

An intimate look at a man who, despite battles with depression and years spent in hermit-like isolation, is still touring and now seems to be reaching a new peak of popularity.

Read by Julian Barratt, with Leonard Cohen quotes read by Colin Stinton.

Abridged by: Jo Coombs
Producer: Pippa Vaughan
A Loftus Media production for BBC Radio 4.

BBC Radio 4

· 

A wonderful biography exploring Leonard Cohen's life, work and passion.

BBC.CO.UK

Listen to or download A Broken Hallelujah

渴望之書

Book of Longing

• 作者： 李歐納．柯恩  
  
• 原文作者： Leonard Cohen
• 譯者： 尉遲秀、鴻鴻、黎煥雄等
• 出版社：國家表演藝術中心國家兩廳院  
  
• 出版日期：2009/

內容簡介

《美麗失敗者》作者最真摯動人的繪本詩集，
菲利普．格拉斯費時6年為本書譜曲，
全書中英對照，內含同名音樂會歌詞！

向大師致敬，邀集藝文名家傾心合譯：

　　李三沖、林蔚昀、周月英、臥斧、張照堂、張世倫、郭品潔、楊澤、詹宏志、詹偉雄、廖月娟、黎煥雄、鍾永豐、鴻鴻、尉遲秀。(依姓氏筆劃排列)

　　《渴望之書》的情感是跨越國界的。這些詩是李歐納．柯恩在南加州伯地山的禪修中心，在洛杉磯、蒙特婁，在孟買寫的，距他上一本詩集的出版已經超過二十個年頭。這本燦爛動人的詩集同時收錄了詩人頑皮挑釁的畫作，這些作品和玄思冥想、無始無終卻又隱隱透露著晦暗幽默的詩作相映成趣。

　　極限音樂巨匠菲利普．格拉斯(Philip Glass)，和「搖滾樂界的拜倫」、加拿大籍詩人歌手李歐納．柯恩(Leonard Cohen)，兩位當代最重量級的藝術家醞釀多年，首次以柯恩2006年發表的詩畫集《渴望之書》為名，掀起跨界合作的話題。格拉斯以六年的時間，為柯恩的22首詩譜曲，運用四位歌者與小型樂團的編制，融合柯恩過去20年來的插畫投影，成為一場文學、視覺與音樂相互交合的盛宴。本書完整收錄台灣藝術節《渴望之書》亞洲首演，中英歌詞對照收藏之用。

作者簡介

李歐納．柯恩（Leonard Cohen）

1934年出生於加拿大蒙特婁。

　　詩人。他於22歲出版第一本詩集《讓我們比擬神話》（Let Us Compare Mythologies）。2007年，加拿大的Ecco出版社發行「復刻本」紀念這本詩集問世50年。

　　小說家。1966年發表《美麗失敗者》，書評家盛讚：「喬伊斯還在人間，他以柯恩之名在蒙特婁生活，他以亨利．米勒的角度書寫。」

　　歌手∕詞曲創作者。他寫的歌被各界歌手翻唱，至今已有300張以上的音樂專輯收錄，僅以翻唱〈哈雷路亞〉一曲的專輯為例，銷量已超過500萬張CD。

　　柯恩自70年代開始修禪。1994年起，他隱居在伯地山禪修中心，1996年剃度出家成為禪宗和尚，法號「自閒」。1999年還俗下山。

　　2008年初夏，74歲的柯恩重回舞台，在歐洲巡迴演唱，偶爾低吟他的詩句。他說：「我上次在這裡，是14年前，那時我60歲，只是個懷抱瘋狂夢想的孩子。」2009年，他流浪的腳步已經踏上澳洲。

　　李歐納．柯恩至今出版9本詩集、2本小說、17張音樂專輯。他的作品，在世即為經典。

NASA's Parker Solar Probe will be the first-ever mission to "touch" the Sun.

NASA最新探査機が打ち上げに成功、太陽への「最接近」目指す

The Sun By  Leonard Cohen

COHENCENTRIC.COM

Leonard Cohen: Dance Me To The End Of Love Arose From Photo Of Concentration Camp Musicians - Cohencentric: Leonard Cohen Considered

This is a song that arose from a photograph that I saw when I was a child of some people in striped pajamas prison uniforms with violins playing beside a smoke stack and the smoke was made out of gypsies and children, and this song arose out of that photograph: Dance Me To The End Of Love.

Leonard Cohen

From Leonard Cohen’s introduction to Dance Me To The End Of Love at the April 10, 1988 Koln concert. The photo is not, of course, the one described by Cohen but does show prisoner musicians at Camp Mauthausen.

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　雅克·勒高夫《聖路易》St. Louis

August 26, 2018, 4:21 pm

≫ Next: 讀孫康宜的《走出白色恐怖》Journey Through the White Terror: A Daughter’s Memoir,《從捕鯨船上一路走來》

≪ Previous: A Broken Hallelujah: A wonderful biography exploring Leonard Cohen's life, work and passion.Book of Looking By Leonard Cohen and others 渴望之書 及其他

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The project was completed in 2015 in time for the 800th anniversary of the birth of St. Louis who had ordered construction of the church.
https://en.wikipedia.org/wiki/Sainte-Chapelle


本書是法國“新史學派”代表人物雅克．勒高夫在西方中世紀研究領域的一部重要著作。作者採用傳記形式，運用大量文獻資料，融歷史偉人的整體史與生活史於一體、敘事與分析相結合，為讀者描繪了被羅馬基督教會封為“聖徒”的13世紀法國國王路易九世的傳奇一生。本書分為三個部分。第一部分主要是敘事，順便談及路易在其一生的主要階段遇到的問題。第二部分對路易同時代人的記憶的產生做了評述，對於作者本人“確實有過一位聖徒路易嗎？”的疑問給予了肯定的回答。第三部分中作者試圖進入聖路易的內心世界，對當時的主要看法進行了深入探討。作者在書中引用了大量文獻，力求寫出一個盡可能接近真是的聖路易，以期讓讀者在閱讀的同時看到和聽到聖路易本人，就像作者自己看到他和聽到他一樣。

前言

　　這部書的醞釀和撰寫經歷了]5年左右。在這段漫長的時間裡，我得到了許多寶貴的幫助。首先我要感謝高等社會科學學院（其前身是1975年以前的高等研究實驗學院第四部），這個研究機構在以往的35年中為我提供了可能，將研究與教學緊密地結合為跨學科的對活。我尤其要感謝年輕的研究人員以及法國和外國同事，他們積極地參加了我所主持的講習會。

　　我要向以其信息和研究豐富了我這部著作的學者們致謝，他們是考萊特•裡博古、菲里普•比克、雅克•達拉倫，尤其是瑪麗—克萊爾•迦諾和皮埃爾•迦諾。我的同事和朋友讓—克洛德•施密特和雅克•勒維爾審讀了我的書稿，提出了意見、補正與建議，我在這裡向他們表示誠摯的感謝。

　　雅克•勒維爾仔細審讀了初稿，他在這項名副其實的合作中花費了大量時間，顯示了卓越的才幹，我對他的感激難以言表。

　　我還要感謝皮埃爾•B．貝甘兄弟、伊夫－瑪麗•戴賽和保爾•居尼。

　　我的秘書克里斯蒂娜•博訥弗瓦的能力、敬業精神和勤奮，此番經受了嚴峻的考驗，我衷心地向她致謝。我還要感謝我的老朋友皮埃爾•諾拉，他把拙著收入了他主編的聲名顯赫的“歷史叢書”。伽里瑪出版社出色的校對員伊薩貝爾•夏特萊和我的朋友路易•埃弗拉對書稿作了細緻認真的最後整理工作，我謹向他們表示謝意。正當我閱讀路易•埃弗拉審校的最後一次清樣時，驚悉他猝然去世，此書的出版工作竟然以這個令人悲痛的消息終結，實在是始料未及，我謹向他表示欽佩和誠摯的敬意；他是一位為人正直、一絲不苟、德才兼備和無與倫比的好人，他是—位博聞強記、造詣極探的人文學者，他認真負責，樂於助人，為許多著作和作者作出了巨大的貢獻。我還要感謝尼古拉•埃弗拉和本書的索引編寫者——我的女兒芭芭拉。

　　我不能不提及我的夫人和孩子們，這些年來我經常向他們談論聖路易，也許談得太多了。我不知道是否由於我的談話，他們已把聖路易當成自己最喜愛的歷史人物。我要感謝他們的耐心、支持和親情。

顯示部分後記

　　1999年1月29日晚間，法國駐華大使館文化專員戴鶴白先生當著商務印書館狄玉明先生的面，將《聖路易》的法文原本交到我手上。從那一刻起，到2001年3月28日我將譯文初稿送交狄玉明先生，其間整整過去了兩年又兩個月。這兩年間，我雖然也做了一些別的事情，但是，大部分時間卻是伴隨著聖路易度過的。由陌生而相識，由相識而熟悉，我與他進行著跨越時空的對話，到我譯完此書時，聖路易幾乎已經成了我神交多年的老友了，我彷佛時時能夠看到和聽到他的言談舉止、音容笑貌。

　　我雖然學過法文，也做過法國歷史研究工作，但翻譯此書仍感相當吃力。除了翻譯中常見的閒難外，書中有關中世紀封建制度和基督教的論述，尤其令我望而生畏。整個翻譯過程就是一個學習過程，向書本學習，向各方面的專家學習。這部書的翻譯使我更加理解了“活到老，學到老”這句話。反躬自問，我的工作態度是認真的。舉個例子，為了譯好有關巴黎圣堂建築結構的一段描述，我特地抄錄了書中的這段文字（書本太厚，攜帶不便），前去聖堂仔細參觀了整整一個上午。縱然如此，有些困難依然無法克服。比如，作者在書中指出，在聖路易生活的年代，法蘭西尚未形成為作為一個政治實體的國家。按理說，沒有國家就不應該有國王，也就是說，聖路易以及他的多位先王，都只是“王”，而不是“國王”。法文中的Roi一詞，既指“王”，也指“國王”，而中文的“王”和“國王”兩詞的含義卻並不完全重合。嚴格地說，聖路易是“法蘭西王”，而不是“法國國王”。然而，如果把Roi譯作“王”，不僅不符合習慣，行文也多不便。斟酌再三，還是依照約定俗成的原則，照舊譯作“國王”。於是，當法蘭西尚不是一個國家的時候，便已經有了“國王”。這樣的處理，雖有悖於“理”，卻合乎“情”。這也許就是兩種語言的不同所造成的難以避免的尷尬。此外，書中有許多與基督教有關的詞彙和術語，如何翻譯也是一個難題。多年以來，在基督教人士和信徒中，早已形成了一些相對固定的詞彙和術語，而這些詞彙和術語對於一般讀者來說，往往難免感到生疏和費解。例如，confession一詞如果譯作“懺悔”，對誰來說都很好理解，而如果按照教會的習慣，把它譯作“告解”或“辦神工”，恐怕就沒有多少讀者能懂了。我當面請勒高夫先生就兩種譯法作出選擇，他毫不猶豫地讓我顧及讀者大眾，不要為了顯示“專業”而採用普通讀者可能感到生僻的詞彙和術語。我遵照作者的意見盡可能這樣做了，實在難以做到時，則採用加註的辦法予以彌補。

　　總而言之．從主觀上說，我抱著對讀者負責，對作者負責，對學術負責的態度，盡心竭力想把這部名著譯好。然而，畢竟由於功力不逮，錯誤和缺陷依然在所難免，所以，敬請專家和讀者不吝指教。

　　2000年仲秋，勒高夫先生在寓所熱情地接待了我，就我在翻譯過程中遇到的一些問題，給予了詳盡和耐心的解答。在我的請求下先生不僅欣然允諾，答應為中文版撰寫一篇序言，而且不恥下問，就序言的內容謙虛地聽取我的意見。2001年初春，先生不顧手術後尚未完全康復，就抱病揮毫，寫就了中文版序言。此外，勒高夫先生還以書面回答了我提出的數十個問題，並將書中大部分拉丁文的書名和短語譯成法文，解決了我的一大難題。

　　上海光啟出版社的沈保義先生早年涉教，從事教會工作數十年，對於天主教的教義和儀規耳熟能詳，加之精通法文，是我在遇到有關宗教問題的困難時想到的第一位請教對象，他的細心解答令我獲益良多。

　　北京大人學的郭華榕教授是我四十餘年前的法國史啟蒙老師，至今依然熱心點撥學生。我在翻譯中遇到難題時，多次貿然打擾，他總是有問必答，給了我很多實質性的幫助。

　　中國社會科學院世界歷史研究所的蕭輝英和邸文同志，熱心細緻地幫我翻譯和校改德文書名、地名和人名，郭方和趙文洪同志就12世紀文藝復興問題接受我的諮詢，以明晰的答复解除了我的疑慮。

　　法國駐華大使館的戴鶴白先生為我提供了許多方便。

　　商務印書館的狄玉明先生和張稷女士在編輯審稿中，給了我熱忱的幫助和鼓勵。

　　我真誠地向以上這些良師益友表示深深的謝意。

　　最後，我要感謝老伴洪敏文給予我的精神支持和“後勤保障”，我的任何成果都有她的一半功勞。

　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　許明龍

　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　2001年4月

內容簡介

　　《聖路易》是西方中世紀研究領域的一部重要著作，也是持續至今的“新史學”運動的最新成果。本書作者法國歷史學家雅克•勒高夫是“新史學”代表人物，當代傑出中世紀史學家。路易九世是法國僅有的被封聖的國王，勒高夫對這位法國歷史上的著名人物之一進行了10年的潛心研究，於1996年出版了這部重要著作。這部博學和引人入勝的傳記，敘事與分析相結合，融歷史偉人的集體史與生活史於一體。作者撥開紛紜複雜史料迷霧，盡可能地接近傳主，探索其“真實面貌”，重新建構一種整體史。

顯示部分目錄

中文版序

前言

引言

第一部分聖路易的一生

第一章從出生到結婚（1214－1234）

第二章從結婚到十字軍出征（1234－1248）

第三章十字軍和在聖地逗留的日子（1248－1254）

第四章從一次十字軍到另一次十字軍直至去世（1254－1270）

第五章成為聖徒：從去世到封聖（1270－1297）

第二部分國王何以長留人們記憶之中：聖路易存在過嗎？

第一章官方文獻中的國王

第二章托缽僧聖徒列傳中的國王：革新基督教的國王

第三章聖德尼的國王：一位王朝的和“國家”的國王

第四章《喻世錄》中的國王

第五章《聖經•舊約》中昭示的聖路易

第六章國王與《王侯明鑑》

第七章外國編年史家筆下的國王

第八章格式化記述中的聖路易，聖路易存在過嗎？

第九章儒安維爾筆下“真實的”路易

第十章典範與普通人之間的聖路易

第三部分聖路易，獨一無二的理想國王 

　　從外部到內部

第一章空間與時間中的聖路易

第二章圖像與言語

第三章言與行：賢人國王

第四章肩負三項職能的國王

第五章聖路易是一位封建國王還是近代國王？

第六章聖路易在家庭中

第七章聖路易的宗教信仰

第八章衝突與批評

第九章聖路易是神聖的國王、身懷魔力的國王和聖徒國王

第十章受苦的國王，基督國王

結束語

附錄一

附錄二

參考書目

年表

人名索引

地名索引

主題詞索引

地圖

譯後記

讀孫康宜的《走出白色恐怖》Journey Through the White Terror: A Daughter’s Memoir,《從捕鯨船上一路走來》

August 27, 2018, 9:00 am

≫ Next: 南方熊楠（Minakata Kumagusu 1867～1941）《縱談十二生肖》

≪ Previous: 　雅克·勒高夫《聖路易》St. Louis

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Kang-i Sun Chang

Dear friends,

Please see this youtube for my radio interview on the White Terror.
The link for radio interview is: https://youtu.be/3xItNsv_i8U
It can also be sourced by simply typing in You Tube search: Kang-i Sun

--

YOUTUBE.COM

Kang-i Sun Chang's Radio interview on the White Terror

Kang-i Sun Chang's Radio interview on the White Terror by Paula Chao, Radio Taiwan…

英文書比較合理：我不太相信簡體字版的《走出白色恐怖》(Kang-i Sun Chang 孫康宜)的讀者，都知道台灣地名如鹿窟、草衙.......

 孫康宜  《從捕鯨船上一路走來》  徐文編，2018

Hanching Chung 康老師:".......在她的回憶錄《走出白色恐怖》中，康宜有專章敘及她與Gram相處的往事，並譯介了Gram的詩作。......"，章名是"紅豆的啟示"，"紅豆"是Paul Sun(孫裕光，孫康宜之父，在綠島監獄撿到的，並手織袋子珍藏之 (正面用藍字寫著：1952，V23，孫裕光；反面則有"綠島紀念"四字。"1952，V23" (1952年5月23，是Paul 結婚9周年紀念。)

"據媽媽說，爸爸是那天在綠島的一個水池邊撿到那顆紅豆的。爸爸當初很難適應牢獄的生活，有一天想不開，曾跳到水池裡自殺，幸而沒淹死......."

這顆紅豆，从王維的《相思》，到陳寅恪的《柳如是別傳 緣起》，到 Paul 在1978年在普林斯頓交給小紅 (康宜)，到Gram將紅豆"翻譯為Ivy(常春藤有常青豆)，從綠島到種是通才教育的普林斯頓的"高等研究院"之群英。.....

這次讓我有機會再次翻《走出白色恐怖》 (因書無索引，卻有許多意外之喜)。讀完相關部分之後，才想起初讀時對"對岸湖中倒影"印象深。.....

⋯⋯更多

康正果：“被发掘者”施蛰存

功能介绍 敖学院主要用于诗歌写作教学和公共教育。王敖，旅美诗人学者，2016年与张尔（飞地传媒）共同发起诗公社计划。

MP.WEIXIN.QQ.COM

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

----

Hanching Chung

2017年8月8日 · 

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

孫老師應該多寫回憶錄。很少有書符合歌德的話，「理論是灰黑的，生命的黃金樹則是碧綠的。」(錢鍾書譯)，孫康宜的《走出白色恐怖》處處是生命的黃金樹，處處是落地的麥子。

MP.WEIXIN.QQ.COM

康正果：“被发掘者”施蛰存

功能介绍 敖学院主要用于诗歌写作教学和公共教育。王敖，旅美诗人学者，2016年与张尔（飞地传媒）共同发起诗公社计划。

---2018

張華兄，
余英時的，要請您解解，取自孫康宜Journey Through the White Terror: A Daughter’s Memoir, p.86

典故

http://chinese-watch.blogspot.com/2018/08/blog-post.html管理

CHINESE-WATCH.BLOGSPOT.COM

梅隱，曠放，浮家，妙境，鳥窠禪師 ；桑下豈無三宿戀

南方熊楠（Minakata Kumagusu 1867～1941）《縱談十二生肖》

August 27, 2018, 7:08 pm

≫ Next: 《紅色新聞兵》重現文革荒唐；文革五十週年：李振盛 影像系列 (NHK 文化大革命.40年后的证言)；唯一的民間博物館「全都遮」；「文化大革命」藏語成了「人類殺劫」

≪ Previous: 讀孫康宜的《走出白色恐怖》Journey Through the White Terror: A Daughter’s Memoir,《從捕鯨船上一路走來》

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約30年前，我就在NHK看過介紹的 南方熊楠(みなかた くまぐす博物学者 )專輯。南方熊楠的著作，譬如關於十二生肖的，有漢譯本。

《縱談十二生肖》
虎的歷史、傳說與民俗 

兔子的民俗秘傳說 

龍的傳說 

蛇的民俗與傳說 

馬的民俗與傳說 

羊的民俗與傳說 

猴的民俗與傳說 

雞的民俗與傳說 

狗的民俗與傳說 

豬的民俗與傳說 

鼠的民俗與信仰 

譯後記
全書以傳統生肖動物為對象，通篇圍繞其進行闡述，典故傳說信手拈來，穿插其中，涉及到諸如古代漢籍、佛經、希臘羅馬神話、歐洲民間故事、動物學、植物學、民俗學等多個領域，行文幽默，聯想奇異，富於深度，具有很強的可讀性。 

日本人（包括從中國大陸和朝鮮半島遷徒到列島的人們及其後裔），至少從我國南北朝時代便揭開了研讀中國典籍的歷史，而伴隨中國文化進入日本所產生的一系列文化現象，諸如寫經抄書、創造假名、宮中講經、發明訓讀、朗詠流行、設明經文章諸科博士、藏典修史等等，構成了人類文化交流史上壯觀的奇景。日本人審視中國的同時，也在成就著自身。不論是出於何種目的，從廣義上講，日本人研究中國，幾乎經歷了一千多年的歲月，但學界真正把研究中國的學問稱為“中國學”，則是第二次世界大戰以後的事情。

nippon.com 繁體字

南方熊楠生來就擁有驚人記憶力和強大思考能力，到了歐美國家以後，與當地學者們唇槍舌戰也毫不遜色。他可以自如運用英語、法語、義大利語、德語、拉丁語、西班牙語，甚至知曉希臘語、梵語和希伯來語。遊刃有餘地閱讀漢文典籍更是不在話下。他是一位研究黏菌和隱花植物的生物學家，同時又在人類學、民俗學等人文科學領域開展了許多具有獨創性的研究。無論在當時還是現代，沒有任何人能像熊楠那樣在如此眾多的領域突破日本人的極限。https://www.nippon.com/hk/column/g00415/

據說昭和天皇最想見面的學者就是本文的南方熊楠。他到底是什麼樣的人？請看我們今天的報導。
南方熊楠：突破日本人潛力極限之人
（中澤新一 ）｜https://www.nippon.com/hk/column/g00415/

南方熊楠：突破日本人潛力極限之人

今年是博物學家、生物學家、民俗學家南方熊楠誕辰150週年。日本各地舉辦了討論熊楠思想的論壇活動，並且出版了許多相關書籍，介紹他在知識領域獨樹一幟的背後故事。我們可以從中看到這位試圖超越以西歐為中心發展起來...

NIPPON.COM

南方熊楠：突破日本人潛力極限之人

中澤新一 [作者簡介]
文化[2018.01.03]其它語言：ENGLISH | 日本語 | FRANÇAIS | العربية | Русский |


今年是博物學家、生物學家、民俗學家南方熊楠誕辰150週年。日本各地舉辦了討論熊楠思想的論壇活動，並且出版了許多相關書籍，介紹他在知識領域獨樹一幟的背後故事。我們可以從中看到這位試圖超越以西歐為中心發展起來的傳統學問的「知識巨人」的偉岸形象。






......就在這樣的時代，南方熊楠（1867～1941）出現了。這個生來就擁有驚人記憶力和強大思考能力的少年，將自己從枯燥的學院派秩序和常識中解放出來，面對當時許多知識份子沉迷的西方文明並沒有產生自卑感，而是扎扎實實地提升自身潛力，到了歐美國家以後，與當地學者們唇槍舌戰也毫不遜色。他可以自如運用英語、法語、義大利語、德語、拉丁語、西班牙語，甚至知曉希臘語、梵語和希伯來語。遊刃有餘地閱讀漢文典籍更是不在話下。他是一位研究黏菌和隱花植物的生物學家，同時又在人類學、民俗學等人文科學領域開展了許多具有獨創性的研究。我們可以毫不誇張地說，無論在當時還是現代，沒有任何人能像熊楠那樣在如此眾多的領域突破日本人的極限。

晚年的南方熊楠

日本民俗學創始人柳田國男，雖然本身也是一位超越時代的英才，但與生活在同一時代的南方熊楠交流後，對其打破常規的非凡能力依然是讚歎不已。柳田曾評價熊楠突破了「日本人的潛力極限」。熊楠的確就是這樣一位將日本人的潛在能力發揮到了極限的曠世奇才。如果要在日本人中尋找萊布尼茲和洪保德那樣研究普遍科學的天才，那就非南方熊楠莫屬了。

左側是熊楠寫給柳田國男的書信。右邊是曾用作反對神社合祀運動資料的大山神社的照片







宗教與科學邂逅產生的獨特世界

南方熊楠生於和歌山縣。該縣古時候被稱為紀州，地處伸向太平洋的半島，得益於溫暖洋流的滋養，層疊的群山之上覆蓋著茂密的亞熱帶植物。這裡自古就被稱為亡者靈魂聚集的「幽隱之地」，建有許多具有宗教色彩的靈場。居民們都是善男信女，對寄居在神社森林中的神明篤信彌深。

熊楠記錄的菌類圖譜。採集的菌類配有色彩豔麗的精細寫生圖

在和歌山市經營五金器具生意的南方家誕下一名男嬰，家人帶著這名男嬰前往位於海南市的藤白神社參拜，得到了神主賜名。這座神社裡有一個熊野神寄居的子守楠神社，生長著一棵巨大的楠木，據此取一個「楠」字，加上這個孩子身體孱弱，為了祈求森林之神賜予神力，又取一個「熊」字，由此命名為「熊楠」。熊楠從小就明白大人給自己取的名字具有深刻的神話意味。

通過自己的名字，少年時代的南方直觀地感受到了動植物世界與自己的深厚淵源。動植物的生存模式和人類的生存模式沒有根本區別，兩者在生命的深層意義上是彼此相通的——他的心中似乎已經有了這種直觀感覺。這種直覺也可以稱作「萬物有靈泛神論」，雖然在傳統上是日本人世界觀中具有共性的思維模式，但熊楠通過學問和社會實踐將之昇華為了明確的學術思想。

1901年在和歌山與相識於英國倫敦的孫文重逢。後排左起為熊楠、翻譯溫炳臣，前排左起為熊楠弟弟常楠、孫文、常楠長子常太郎、弟弟楠次郎

19歲時，由於沒有通過東大預科學校（現在的東京大學教養系）的期中考試，熊楠懷著大志遠赴美國。進入密西根州立農業大學，但不久後退學，開始專注於採集和觀察動植物。他前往古巴採集地衣類植物，發現了新物種。1892年9月前往英國。次年向《自然》雜誌投去題為《遠東的星座》的論文，得到了認可，開始出入大英博物館，讀遍了考古學、人類學、宗教學等領域的藏書。結識東方學者狄肯斯後，獲得了一份在大英博物館負責編纂東方圖書目錄的工作。

這一時期，南方熊楠不斷在《自然》等學術雜誌上發表內容新穎的論文，逐漸成為了在英國知識階層小有名氣的人物，而1898年在博物館內發生的一起打人事件改變了他的命運。儘管是被一個英國人對日本人的侮辱性歧視言論激怒而動手，但第2年還是受到了禁止出入博物館的處分。因為這一事件，他在時隔14年後回到了日本。此時，他的父母均已過世。

右側是《自然》雜誌，中間是熊楠多次以英文論文投稿的《Notes & Queries》雜誌，左邊是配有精美插圖、篇幅長達52卷的《倫敦摘記》

超越近代科學的思想

在明治時代，海外留學通常是以拿到歐美大學學位為目的的，像南方熊楠那樣只是因為單純對學問感興趣而遠赴歐美，卻沒有拿到任何學位或榮譽就回國的人，社會總是冷眼相待。但熊楠對此毫不在意。回到和歌山後，他一頭前往熊野植被豐茂的山中，整日忙於採集和研究植物。

外出採集植物的熊楠（右）

當時，熊野的那智地區生長著一大片原始森林，是地衣類和黏菌類生物的寶庫。熊楠將那智神社旁邊一個名叫大阪屋的客棧作為活動據點，由此前往山中採集植物，大部分時間都是獨自一人進山。晚上就在燈下用顯微鏡進行觀察和製作標本資料。在帶進山裡的少量書籍中，他讀得最多的是華嚴經的研究專著（法藏著《華嚴五教章》），潛心鑽研佛教哲學。置身於完全孤獨的狀態，熊楠實現了精神上的通達透徹。他展現出超凡的智力，具有獨創性的奇思妙想如泉水般不斷噴湧。

生前經常使用的顯微鏡和寫生用具

熊楠在寫給京都高山寺住持、真言宗僧侶土宣法龍的信中表達了其具有獨創性的思想。這些書信都寫在巨大的卷紙上，長的甚至超過10m，為了寫這些信，熊楠連續幾天不眠不休也絲毫不覺得疲憊。書信內容涉及眾多領域，最重要的是我們可以從中看到，他通過佛教思想重新審視近代科學的根基，除了明確提出其局限性外，還試圖在突破局限性後勾勒出自己構想的未來科學的構造。

他在追尋事物因果關係的過程中找到了西方近代科學的本質。但因果關係僅僅展現了世界的一個方面。正如佛教思想揭示的那樣，世界的實相存在於超越因果的「緣起」之中。「緣起」的基本思想是，世間萬事萬物皆因「緣起」而彼此關聯。如果立足於這種緣起世界觀，那麼科學的構造也就必須被拓展為更加複雜的狀態了。為了清晰地展示這種被拓展的「未來科學」的構造，熊楠在信中運用了比喻、圖例和高階邏輯等手段。尤其是信中描繪的曼達拉狀圖例令人印象深刻，現代研究人員將之稱為「南方曼達拉」，一直在致力於解讀其含義。

寫給土宜法龍的信

死守鎮守之林

在植物學方面獲得大量新發現後，南方熊楠下山在田邊定居下來，與鬥雞神社宮司的女兒松枝結婚組建了家庭。兩人生育了一男一女，生活過得非常充實。他還在自家的院子裡發現了名為「南方長絲黏菌（Minakatella longifila）」的新品種黏菌。他曾應邀為各類雜誌撰寫了諸多有趣的民俗雜記，後來這些文章以《南方隨筆》等著作的形式出版。

然而，投身「反對神社合祀」社會運動的決定打破了熊楠在田邊的平靜生活。當時，明治政府試圖將民眾的多神信仰統一成國家神道的單一信仰，發佈了「神社合祀令」，要廢除民間祠堂和不明歷史淵源的神社，將之併入一些具有核心地位的神社。而那些處於自然狀態的神社，主體並不是神社建築，而是環繞四周的森林。因此，隨著神社被廢，神社的森林也會遭到破壞。如果森林遭到砍伐，生息其中的動植物也會滅絕。對此感到憂慮的熊楠決心全力抵制這道神社合祀令。

起初，理解他的人極少。但熊楠依然全身心地投入到了這場守護森林的運動之中。在柳田國男的幫助下，他製作並向各方面散發了名為《南方二書》的政治性科學宣傳冊，對他表示理解的人也逐漸多了起來。有一次他喝醉後闖入負責推進神社合祀事務的官員舉辦的宣講會，結果被逮捕入獄。後來他竟然在獄中發現了新品種的黏菌，這段軼事也確實符合他的作風。

中間的島嶼是神島。背後可以看到田邊市區和紀伊山地

數年後，在熊楠的奮力抗爭下，那場神社合祀運動日漸式微。和歌山的眾多森林由此得救。其中，位於田邊灣的神島得以倖存更是具有重大意義。這座孕育了大量珍貴植物的島嶼已被指定為天然紀念物。1929年，巡遊到紀南地區的昭和天皇讓長門戰艦停泊在田邊灣的神島海域內，邀請了熊楠在艦上為自己講課。昭和天皇本人就是一位優秀的黏菌學者，卻熱切期待與熊楠這樣的一介民間學者見面。當時，熊楠獻上了裝在奶糖盒裡的標本，昭和天皇欣然接受了這份禮物。這是熊楠人生中一個輝煌的瞬間。

右邊是奶糖盒。中間是當時最先給昭和天皇介紹的藤壺尾海蛇標本。左邊是為天皇講課而新做的白衣服

1941年，熊楠走完了自己的一生。他不僅是一位偉大的黏菌學家、生態學家、人類學家、民俗學家，還展現了一種自由奔放、簡單純粹的生活方式，時至今日，依然賦予著日本人遠大的夢想和希望。

In May 1962, more than 30 years later, Their Majesties The Emperor and Empress visited southern Wakayama again. Inspired by a view of Kashima from a hotel room on the Shirahama Beach the Emperor composed a waka poem:

“

Through the rain I see the dim figure of Kashima in the distance Which reminds me of Kumagusu who was born in Wakayama

”

The poem is inscribed on the monument erected in front of the Minakata Kumagusu Museum overlooking the Kashima island.

《紅色新聞兵》重現文革荒唐；文革五十週年：李振盛 影像系列 (NHK 文化大革命.40年后的证言)；唯一的民間博物館「全都遮」；「文化大革命」藏語成了「人類殺劫」

August 29, 2018, 11:00 am

≫ Next: 林淇瀁/向陽《世界恬靜落來的時》； 臺灣現當代作家研究資料彙編，標誌時代意義的巍然巨著 (廖振富)

≪ Previous: 南方熊楠（Minakata Kumagusu 1867～1941）《縱談十二生肖》

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顯影 PhotogStory 介紹《紅色新聞兵》

//1966年，26歲的李振盛任職《黑龍江日報》，除了報社的攝影任務外，他也把批鬥、槍決、紅衞兵打砸搶燒——他稱之為「抹黑文革」的負面照片一一拍攝下。紅衞兵批鬥的畫面，其他記者通常不拍攝這類沒用的照片，一來不僅不能登報，更有可能會惹來被批鬥之禍，當時李振盛要等報社的同事下班後，才敢在黑房裏沖曬底片，再藏於抽屜暗格裏。他一直把攝影老師吳印咸的話記在心中：攝影記者不僅僅是歷史的見證人，還應當是歷史的記錄者。文革期間，他感覺自己有一種朦朧的歷史使命感，「所以我的想法是先把它記錄下來，留待後人評說。」//

《紅色新聞兵：一個攝影記者密藏底片中的文化大革命》⋯⋯

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【顯影】被埋藏的菲林　重現文革荒唐
【顯影】文化大革命雖是半世紀前的事，但作為一段重要的歷史，依然值得更多人認識。「記錄苦難是為了不讓苦難再發生，記錄歷史是為了不讓歷史悲劇重演。」年近八旬的李振盛在其著作《紅色新聞兵》（Red Color News Soldier.....






觀念座標新增了 2 張相片。

※ 2016.05.14 中國—《泰晤士報》Calum MacLeod ※
文革發動五十週年，唯一的民間博物館「全都遮」

毛澤東於 1966 年發動文化大革命，到下週一（5 月 16 日）剛好滿五十週年。但是中國唯一的文革博物館，所有指稱文革往事的東西，全都被巨型的看板、鐵皮、貼紙、海報遮起來。

北京政府也不允許民眾公開對五十年前、死了大約兩百萬人的政治運動致哀。雖然官方文獻形容它是「十年浩刼」，這個話題依然是禁忌，因為始作俑者目前仍然還在執政。

在官方的不滿之中，唯一還在公開紀念文革的，是汕頭市澄海區蓮上鎮的塔山森林公園，此座森林公園中的文革紀念館在 2005 年開放。

博物館主要的特色之一，是數百個石雕，銘刻著當年的場景、口號、紅衛兵折磨人的方法。這裡也有二十幾座墳塋，埋葬著文革的死者。

現在，這些石碑、紀念門、佛塔，全部都用大紅大黃的新口號遮起來了，吠叫著「社會主義核心價值觀」、「中國夢」等等習近平過去三年推動的政治運動。

目前，整座公園在無數的監視錄影機以及公安嚴密監視之中。在我進入園區時，公安訊問我一個小時，我遊覽的期間，五名官員跟在我後面全程盯人。

附近村裡一個店家告訴我：「黨的臉丟大了，文革跟這個博物館讓他們很尷尬。」

1968 年 7 月各個造反派鬥爭的高潮時，各派人馬都自稱自己最遵循毛主席的教條，塗城村遭到鄰村攻擊，中國軍隊不得不介入進行「軍事管理」，至少有 24 人死亡。

塔山文革博物館的展覽品，現在被特意掩蓋，顯示當前執政者想要永遠埋葬痛苦的歷史真相。這座民間的博物館呼籲「反思」，並且寫著「要以史為鑑，不要讓文化大革命的悲劇重演」，現在這些字句全都被巨型文宣看板遮住。

博物館的發起人是彭啟安，他本人在文革中差點被槍決；他的哥哥是一位老師，在文革中被暴民殺死。

在汕頭的博物館中，一位二十歲的地理系學生，Atlas Wu，表示，中國年輕人對文化大革命所知有限，卻很想知道：「我們只被告知那是內部動亂，電影跟其他媒體中這個話題也是禁忌，其實應該開放，讓大家可以反省。」ttp://www.thetimes.co.uk/…/censors-try-to-blot-out-memory-…

Fifty years ago the Great Proletarian Cultural Revolution, as it was officially known, plunged China into Maoist madness. It left well over 1m people dead and wrecked the lives of millions of others

China's "red terror" was not the sole work of "an old man settling personal scores at the end of his
How Mao’s call for “disorder under heaven” tore China asunder
ECON.ST

DW (中文)分享了 1 條連結。
5月12日 
关于文化大革命，你了解多少？ | 1五1十议文革 | DW.COM | 12.05.2016
文化大革命主要是为了什么？这场革命和文化有多大关系？它是怎么进行的…
DW.COM|由 DEUTSCHE WELLE (WWW.DW.COM) 上傳

NHK 文化大革命.40年后李振盛的证言 全片

https://www.youtube.com/watch?v=N00RTaA72g4

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

Initium Media 端傳媒


【每日instagram: 文革50週年影像系列】http://bit.ly/1T2sEtj


1966年8月25日，哈爾濱黑龍江日報的工作人員批鬥駱子程，就他走資本主義道路，反對群眾運動，他頭戴的高帽上寫著他的罪行。


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攝：李振盛 Li Zhen Sheng


【文革50年系列文章】http://bit.ly/1Tat4TI

DW (中文)

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

中国文革与西藏 | 1五1十议文革 | DW.COM | 14.05.2016

五十年前，毛泽东的红卫兵小将也在西藏掀起了极具破坏性的革命。今天北…

DW.COM|由 DEUTSCHE WELLE (WWW.DW.COM) 上傳

作者：唯色 / 澤仁多吉‧攝影

譯者：

出版社：大塊文化出版股份有限公司

出版日期：2016-01-21

官方網址：

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

文革五十週年紀念新版

文革依然是禁區，《殺劫》依然是禁書

傳統藏語並無「革命」一辭。半個多世紀前，中共解放軍進駐西藏，刻意結合原先藏文的「新」與「更換」才造出這一個全新的辭彙。藏語「革命」的漢語發音近似「殺劫」，

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

文革五十週年紀念新版

文革依然是禁區，《殺劫》依然是禁書

傳統藏語並無「革命」一辭。半個多世紀前，中共解放軍進駐西藏，刻意結合原先藏文的「新」與「更換」才造出這一個全新的辭彙。藏語「革命」的漢語發音近似「殺劫」，恰恰表明二十世紀五○年代以來，「革命」為西藏帶來的種種劫難。一九六六年，「文化大革命」席捲西藏。「殺劫」之前於是再被加上「文化」一辭。藏語的「文化」與漢語的「人類」發音近似。對西藏民族而言，這場「文化大革命」無疑成了「人類殺劫」。

一九六六年，文化大革命的烈火開始燎原，作家唯色出生於西藏軍區總醫院。當時她的父親是中國駐藏解放軍的一名軍官，也是一位熱心的攝影愛好者。透過鏡頭，這位軍官記錄了迄今為止關於西藏文革最全面的一批影像。「與強權的鬥爭就是與遺忘的鬥爭」，在世界面前，文革是中共的一個尷尬，西藏則是另一個尷尬，因而西藏的文革就成了雙重禁區，愈加不可觸碰。

這本書的原版，因藏語「革命」的諧音而得名《殺劫》，十年前的二○○六年由大塊文化出版。那時恰逢文化大革命四十週年，儘管已經過了四十年，但文革在中國仍被列為不可碰觸的禁區，而發生在西藏的文革更是禁區中的禁區。也因此，在文化大革命五十週年的今天，在霧霾日益濃重卻堪稱強大的中國，《殺劫》依然是禁書，文革依然是禁區。

這期間，唯色嘗試使用他父親在文革當年拍照片的蔡司伊康相機，站在他父親當年同一角度，拍攝今日拉薩圖景，兩個時代照片的對比，顯示出歷史的無常……《殺劫》文革五十週年紀念新版，除了全書修訂外，還追加了更多文字與影像的記錄。透過唯色父親的照片，讀者可以進入歷史中的拉薩，去認識曾經有過卻已消失的風景，曾歷盡滄桑卻已輪迴的人們，傾聽曾經發生的故事以及故事中的悲歡離合…..當然也可以跟著唯色，一起追索著他父親當年行蹤，透過他們的文字與影像記錄，見證著更多西藏的生與死。

林淇瀁/向陽《世界恬靜落來的時》； 臺灣現當代作家研究資料彙編，標誌時代意義的巍然巨著 (廖振富)

August 29, 2018, 1:30 pm

≫ Next: 略讀《法國浪漫主義時期的音樂與文學》Hector Berlioz『柏遼茲回憶錄 』

≪ Previous: 《紅色新聞兵》重現文革荒唐；文革五十週年：李振盛 影像系列 (NHK 文化大革命.40年后的证言)；唯一的民間博物館「全都遮」；「文化大革命」藏語成了「人類殺劫」

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標誌時代意義的巍然巨著

廖振富·2018年1月15日

《文訊》第387期，2018年1月號。

臺灣現當代作家研究資料彙編，是國立臺灣文學館設立14年以來最大型的出版計畫，從李瑞騰教授擔任館長之初的2010年3月正式啟動，到2017年12月為止，前後七個階段，共完成一百冊的豐碩成果，耗費相當龐大的經費。這段期間，主管機關由文建會正式擴編為文化部，國立臺灣文學館則歷經李瑞騰、翁誌聰、陳益源、廖振富等館長的人事更迭，但在文建會、文化部的長期支持下，由本館與臺灣文學基金會封德屏董事長展開密切合作，籌組堅強的研究團隊組成顧問群，以穩健的步伐，高效率的執行力，交出粲然可觀的成績單。就當代文學研究而言，這套叢書無論出版冊數、投入人力、動用預算，都堪稱空前，其意義自是不容小覷。

我粗略估算（以下統計若有錯誤，敬請包涵），參與主編本出版計畫的的學者、作家，大約在54人左右，其中主編冊數最多的是許俊雅、須文蔚、應鳳凰3人，各7冊；其次是陳信元、林淇漾（向陽）2人，各6冊；再其次，彭瑞金5冊，張恆豪4冊，至於陳芳明、張瑞芬，也各有3冊。以上9人共主編48冊，佔了總數將近一半，可說是這套叢書的編輯主力。其他主編2冊者有：周芬伶、陳建忠、陳義芝、李進益、鄭明娳、阮美慧、洪淑苓、王鈺婷、莫渝等人。而主編（或兩人合編）1冊者，則多達37人左右。以上主編大多是學院內的文學研究者，從資深學者到青年世代，隱然有台灣文學研究薪火相傳的深刻意義。而參與最深的陳信元老師，不幸於2016年因病去世，青年世代的傑出學者陳建忠，目前仍臥病在床，則是令人格外遺憾的。但是所有參與學者曾共同付出的努力，已為臺灣文學研究，留下紮實厚重的史料與見證，必然可傳諸後世而不朽。

這套叢書策畫執行之前，臺灣文學館已有「《2007臺灣作家作品目錄》暨資料庫系統建置」、「臺灣現當代作家評論資料目錄」兩大專案，並以此為基礎陸續出版《2007臺灣作家作品目錄》3大冊，及《臺灣現當代作家評論資料目錄》8大冊。本叢書則是從上述收錄作家名單中，精選百位作家逐一蒐羅研究資料，希望藉由文學活動影像、作家小傳、文學年表及研究評述之選刊，完整呈現作家生平、創作、歷史地位與影響，並協助研究者便於掌握當前作家研究的現況，取得研究視野的高度，厚實臺灣文學研究基礎。

觀察這套叢書收錄的百位作家名單，可以有多方面的學術意義，若有學者願意針對這套叢書的收錄作家、主編學者、編輯體例、編選內容等，進行細部研究，相信將可以提出不少學術發現或針砭的意見。因為就臺灣現當代文學研究而言，這是前所未有的浩大學術工程，而編選過程、名單確認，乃至收錄文章，雖經過再三討論，仍有諸多條件的限制，且各界必有仁智互見的不同看法，不可能滿足各方期待。然而從中仍大致可看出百年來臺灣文學的發展脈絡與演變，並充分彰顯臺灣文學香火的生生不息，其學術價值不容忽視。以下僅就個人粗略觀察，提出幾點淺見。

本叢書收錄作家，生年最早的是1894年出生的賴和，其次是1897年出生的蘇雪林，恰好顯示臺灣現當代文學涵蓋的兩大源頭，前者是萌芽於1920年代的日治時期臺灣新文學，後者是孕育自1919年五四運動的中國現代文學。

日治時期臺灣新文學除賴和、張我軍以中文創作之外，其他包括吳濁流（1900~1976）、楊逵（1905~1985）、吳新榮（1907~1967）、郭水潭（1908~1995）、楊熾昌（1908~1994）、張文環（1909~1978）、翁鬧（1910~1940）、龍瑛宗（1911~1999）、巫永福（1913~2008）、呂赫若（1914~1951）、王昶雄（1916~2001）等人，受限於時代環境，不論是新詩、小說，他們幾乎都是以日文創作，翁鬧壯年早逝，其他人戰後或停筆噤聲、或苦學中文重新出發，也有如張文環仍以日文沉潛寫作者。

而脫胎自中國現代文學，戰後跟隨國府來臺，輸入這座島嶼的文學火種，諸如蘇雪林（1897~1999）、梁實秋（1902~1987）、謝冰瑩（1906~2000）、陳紀瀅（1908~1997）、姜貴（1908~1980）、覃子豪（1912~1963）、紀弦（1913~2013）、吳魯芹（1918~1983）、鹿橋（1919~2002）、羅蘭（1919~2015）等人，或多或少都從五四新文學運動吸取奶水，在戰後臺灣文壇各領風騷。兩種不同出身的作家，經歷不同政治環境下的戰亂與社會動盪，呈現的是迥然異趣的文學風景，也構成臺灣現代文學多重轉折的複雜面貌。

以出生地觀察本叢書收錄作家，臺灣籍者47人，外省籍53人，反映兩者力求平衡的考量。臺灣出身的作家，出生於1920年代的詹冰（1921~2004）、陳千武（1922~2012）、葉石濤（1925~2008）、鍾肇政（1925~）、錦連（1928~2013）等所謂「跨越語言的一代」，都經歷了戰後重新學習中文的艱苦歷程，始能在長期摸索之後重新出發。只有少數更早出生的臺籍作家，如張深切（1904~1965）因為有長期旅居中國的經歷，戰後並無語言的障礙。至於更大批嫻熟於中文創作的臺籍作家，多半出生在1930年代以後日治中晚期，他們有機會在戰後接受完整中文教育，如鄭清文（1932~2017）、陳冠學（1934~2011）、李喬（1935~）、黃春明（1935~）、白萩（1937~）、陳若曦（1938~）、郭松棻（1938~2005）、七等生（1939~）等人，分別在小說、新詩、散文領域各成名家。

以性別分，本叢書收錄作家男性78人，女性僅22人，比例嚴重失衡，顯然與時代環境息息相關，其中1920年代以前出生的臺灣籍女作家，僅有陳秀喜（1921~1991）、杜潘芳格（1927~2016）2人，至於林海音（1918~2001）則出生、成長於北京，應屬例外。而出生年代更早的葉陶（1905~1970）、楊千鶴（1921~2011）、黃鳳姿（1928~）則因作品過少，並未收入。相反的，1920年代以前出生的外省籍女作家，除蘇雪林之外，另有琦君（1917~2006）、張秀亞（1919~2001）、潘人木（1919~2005）、羅蘭（1919~2015）、孟瑤（1919~2000）等多人，這或許與1949遷徙來臺者，多屬中上階層的知識菁英有關。

若從作家創作的文類區分，本叢書收入者以詩人、小說家最多，散文次之，相對稀少的是劇作家、兒童文學作家。當然，其中也不少作家擅長兩種以上的文類，如臺灣新文學的開創者賴和，作品有古典漢詩、新詩、散文、小說，林鍾隆的兒童文學與小說創作，都有可觀成果。而楊牧、余光中兩人的詩作與散文，也都各享令譽。

這套叢書以已去世（67人）及仍在世之資深作家（33人）為主，經本館及執行團隊共同研商，考慮到 1945年是臺灣結束日本殖民統治、轉變為國府統治的關鍵年代，目前收錄作家以1945年之前出生者為下限，唯一例外是李潼（1953~2004），因其在兒童文學領域成就甚高，且英年早逝而被收入。

而有鑑於文學界對此一學術工程的高度肯定與殷切期盼，在完成百冊的壯舉之後，為免遺珠之憾，本館積極向文化部爭取經費，並獲得鄭麗君部長承諾，將再進行後續20冊的編輯出版，預期兩年後累積成果將達到120冊之多。至於兩年之後是否持續進行出版計畫，由於1945年以後出生的作家多半仍持續創作，似乎無須急於編輯研究資料，本館也希望在適當停頓之後，進行盤點再行評估。同時，我們更深切期待各界能善用這套巍然巨著，將臺灣現代文學研究推向全新的里程，以發揮其學術價值。

我個人深信，將來若重新啟動後續出版計畫，除了必然收入更大量的女作家之外，隨著族群文學、母語文學、同志文學等各種新興發展趨勢的崛起，未來這套叢書也可考慮收入在本叢書中缺席、而目前正活躍於臺灣文壇的原住民作家、母語文學作家、同志作家等，如此勢必將為臺灣文學研究，開展出前所未有的嶄新風貌。

***

林淇瀁覺得喜氣洋洋──和 Ching-Ching Yeh 。

《世界恬靜落來的時》音樂會完售

葉青青教授製作的《世界恬靜落來的時：向陽詩選歌樂創作》音樂會門票今晚完售了。我心中的石頭也放下來了。現代詩和古典樂的對話，其中又絕大多是台語詩，能夠在不到一個月內完售，是我這個小眾詩人不敢想像的事。

感謝青青，感謝作曲家、感謝聲樂家，當然也要感謝購票的聽眾們。

音樂會的主標「世界恬靜落來的時」，是我的台語詩作，1998年6月16日發表於路寒袖主編的《台灣日報》副刊，至今剛好滿20年。當年的剪報也在今晚「跑」出來，真是太湊巧了。

略讀《法國浪漫主義時期的音樂與文學》Hector Berlioz『柏遼茲回憶錄 』

August 30, 2018, 1:53 am

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≪ Previous: 林淇瀁/向陽《世界恬靜落來的時》； 臺灣現當代作家研究資料彙編，標誌時代意義的巍然巨著 (廖振富)

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略讀《法國浪漫主義時期的音 樂與文學》

《法國浪漫主義時期的音樂與文學》 溫永紅譯，天津，百花文藝出版社，2005年7月出版。這本書說原作【La Musique et les lettres au temps du Romantisme Leon Guichard】是1995年 的作品，不過，我找到一書評：Book Review: E Barineau - Modern Philology, 1957【印證：「此書最早發表於 1955年 （而不是中譯版上的 1995年）」】

有人說：「《法國浪漫主義時期的音 樂與文學》是法國著名的文藝評論家雷翁·吉沙爾所寫的一部具有影響力的……」不知道是否如此，不過可以找到作者的許多作品

http://www.books.google.com/books?ie=UTF-8&q=leon+guichard&btnG=Search

譬如說與本書類似的

La musique et les lettres en France au temps du Wagnerisme
L Guichard - 1963 - Paris: Presses Universitaires de France

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這本書的翻譯網路上有點資料： 2003年的「中央音樂學院音樂學研究所」：

「《法國浪漫主義時期的音樂和文 學》是法國作家雷翁·吉沙爾所作的一部具有影響力的專著，該書主要介紹了法國浪漫主義時期的音樂、文學，社會政治生活和哲 學藝術觀念，反映了法國大革命時期到 19世 紀中葉浪漫主義時期音樂與文學的互動關係，以及音樂在社會政治文化生活中的作用、社會及文化思潮對音樂藝術的影響；音樂對 文學家和文學創作的影響，也展示了他們之間的合作，改變和

影響作品的創作形式和思想內涵。

該書由我院青年教師溫永紅翻譯，是我所2000年 度的所立翻譯課題，經專家評審委員會審議，該課題目前已結項。根據專家建議譯者目前正在積極聯繫出版事宜。 ]」

我們可以知道一本書的翻譯和出版 （包括取得法國外交部的補助），過程至少花四五年。本書翻譯了所有的原注 /參考資 料，不過本書少數牽涉到拉丁文和西班牙文等，都未翻譯。可惜，缺索引 —它之所 以有用的原因是許多人物在各章都出現，必須幫忙讀者融會貫通。

「書中對法國大革命至 1850年浪漫主義時期的音樂、文學氛圍，音樂在波瀾壯闊的社會政治生活中的作用，和社會 及文化生活對音樂藝術的影響進行了詳細和廣泛地介紹；並讓我們清晰地看到：這一時期音樂與文學間，音樂家與文學家之間的密切互動關 係，以及哲學藝術觀念對音樂的影響；最後本書通過對幾個生活在浪漫主義時期的大文學家與音樂相關的生活和創作的描述，向 我們展現了他們對音樂的熱愛以及音樂對他們文學創作的豐富和影響。」

「本書的作者閱讀了 1789至1850年間有關文學與音樂的大量史料【hc案：作 者承認他只讀現有資料的部分】：包括一般性的研究和專題性的研究，也認真閱讀了這一時期的回憶錄、通信集、雜誌、報紙等。其 材料的豐富性令人印象深刻。作者利用自己掌握的大量材料，對當時音樂生活的多個方面進行了介紹，其中包括浪漫主義時期的音樂體裁，樂 器和名演奏家以及這一時期最時髦的音樂體裁——歌劇和最時髦的社交生活場所——歌劇院。此外，這本著述不僅像大多數此類著述一樣，注 意到了文學對音樂家和音樂創作的影響；更談到了音樂對像巴爾扎克、司湯達、奈瓦爾、喬治•桑等文學家和他們的文學創作的影響和豐富【 hc案： 這些文學家都有專章討論。我們對於奈瓦爾可能比較生疏，其實他翻譯『孚士德』都受哥德撐讚； Eco在 哈佛大學的講座一直用他的作品當主題；P. Valery有回憶他的文章……..】。尤其是對大文學家們與音樂有關的文學作品如：巴爾扎克的《康巴拉》、《馬西米拉•多 尼》，喬治•桑的《康絮愛蘿》和《吹奏樂師》及創作過程進行了逐一的介紹。

」

作者總結相當悲觀：現代人只喜歡德國浪漫主義的音樂，很少人會聽法國浪漫主義時期的音樂了。不過，本書示範音樂與文學的相互關係的研究之簡單方式（還不夠細緻）。

「音樂、藝術、哲學、科學和文學」這主題，從有史以來一直很豐富。在1894年，象徴主義詩人Stephane Mallarme (1842-1898)應邀英國兩大名校演講，主題為「音樂與文學」。

法國浪漫主義古典音樂的奠基人 Hector Berlioz(1803-1869)有專章，本書各章都提到他。我注意到本書引的『柏遼茲回憶錄第二章』所提的拉丁詩，本書與『柏遼茲回憶錄』（北京：東方，2000）都沒譯出，其實北京大學故楊先生都有翻譯可參考。或許，這些語言細節只說明一些現象，不怎麼礙事，就不多說。

“Life when one first arrives is a continual mortification as one's romantic illusions are successively shattered and the musical treasure-house of one's imagination crumbles before the hopelessness of the reality. Every day fresh experiences bring fresh disappointments.”
―from THE MEMOIRS OF HECTOR BERLIOZ (1865) by Hector Berlioz

Hector Berlioz’ (1803-69) autobiography is both an account of his important place in the rise of the Romantic movement and a personal testament. He tells the story of his liaison with Harriet Smithson, and his even more passionate affairs of the mind with Shakespeare, Scott, and Byron. Familiar with all the great figures of the age, Berlioz paints brilliant portraits of Liszt, Wagner, Balzac, Weber, and Rossini, among others. And through Berlioz’s intimate and detailed self-revelation, there emerges a profoundly sympathetic and attractive man, driven, finally, by his overwhelming creative urges to a position of lonely eminence. For this new Everyman’s edition of The Memoirs, the translator–the composer’s most admired biographer–has completely revised the text and the extensive notes to take into account the latest research. READ more here: https://www.penguinrandomhouse.com/…/the-memoirs-of-hector…/

Leonard Bernstein

Today we wish a very happy birthday to French composer HectorBerlioz, born on this day in 1803!

Berlioz is best known for his "Symphonie fantastique,""Grande messe des morts" (Requiem), and "La damnation de Faust." The ‪#‎Requiem‬ is scored for a large orchestra, four brass choirs, and a chorus (more than 400 performers!).

On opening night of his first season as Music Director of the New York Philharmonic, Leonard Bernstein conducted Berlioz's "Roman Carnival Overture" as a surprise addition to the October 2, 1958 program.

In his Young People's Concert entitled "Berlioz Takes a Trip," originally broadcasted by CBS on May 25, 1969, Bernstein discusses what he describes as "the first psychedelic symphony", "La Symphonie Fantastique".

Leonard Bernstein: Young People's Concerts | Berlioz Takes a Trip (Part 1 of 4)

Berlioz Takes a Trip Aired date: May 25, 1969 Plot: Bernstein discusses what he describes as…

YOUTUBE.COM

****'Music is a whole world'

It took Elliott Carter almost 50 years to find himself as a composer. Now the 97-year-old is one of the greatest of modernists - as even his fellow Americans are beginning to agree. He talks to Andrew Clements

Tuesday January 3, 2006
The Guardian

Elliott Carter in 1973. Photograph: Henry Grossman/Getty/TimeLife

Elliott Carter is more than one of the most important composers of our time; he remains a vital link with a long-gone musical era. At the age of 97, and still composing (currently he's working on a song cycle scheduled for performance next autumn), he has been involved with new music on both sides of the Atlantic for nearly 80 years. "I've been in the middle of this all through my life," he says, and in the process he got to know many of the composers - such as Stravinsky, Ives and Varèse - who had forged the language of modernism in the first decades of the 20th century, as well as those like Boulez and Nono who led another musical revolution in the years after the second world war.

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He may be the greatest composer the US has produced since Ives, but Carter's outlook has always been at least as much European as it is American, and it was audiences on this side of the Atlantic who first recognised the importance of his knotty, demanding music. Carter is a New Yorker: he was born there in 1908, and the city has remained his home throughout his life; he lives now in an apartment on the edge of Greenwich Village. But since childhood he has made regular visits to Europe, and expects to be in London once again next week - a 90% chance, he says - for the BBC's celebration of his music at the Barbican.
Carter's connections with Europe are deeply ingrained. He learned to speak French before he could read: "My father was an importer [of lace] from France, and he took me there many times when I was a child, so I am almost as familiar with Paris as I am with New York." Though Carter was given piano lessons (which he found boring at the time), his parents had no musical ambitions for their son, and expected him to make his career in the family business. It was not until his late teens, when he heard Stravinsky's Rite of Spring for the first time in 1924, that Carter realised what he really wanted to be was a composer.
Another European city he visited in the 1920s with his parents was Vienna, where he bought copies of the latest works by Schoenberg and other members of the Second Viennese School. Back in New York an enlightened music teacher took him to contemporary music concerts and, crucially, introduced him to Charles Ives ("He was not as isolated a man as he is sometimes made out to be," Carter says). Ives gave the schoolboy copies of the Concorde Sonata and the collection of his songs that had been privately printed, and became the guiding spirit behind Carter's first efforts at composition.
Nevertheless, when he became a student at Harvard University, Carter studied English, having decided the music department there was hopelessly conservative. He concentrated on composition only as a graduate student, when for one semester his teachers included Gustav Holst, whom he remembers as a rather melancholy old man. But by the time he left university he was still nowhere near to becoming the composer he wanted to be. "I tried to write the music that I wanted to write but couldn't do it, and I then realised those composers had a classical training, and so it was easy for me to be convinced that I should do that, too."
So in the 1930s, Carter spent three years in Paris studying with Nadia Boulanger. He arrived in 1933, at the time of the Reichstag fire, and found the city full of refugees from the Nazis, and "a very sad place". Boulanger's rigorous harmony and counterpoint exercises took him back to first principles, but also imbued him with the disciplines of neoclassicism, which ran counter to the much wilder, expressionist pieces he had got to know and tried to imitate in New York. "She wasn't encouraging if you wrote very dissonant music," Carter says. "But, meanwhile, the world of music had changed. It wasn't hard to think when we saw pictures of Hitler that it was expressionism that had gone on and produced such a terrible result in Germany, that it was a working out of that kind of extravagance that had become terrifying. So we thought that it was time to be more orderly and more consciously beautiful, and neoclassicism did seem to have a perfect logic about it."
The lessons he absorbed during his years of study with Boulanger remain paramount in his music today. With her he learned to write counterpoint in up to eight parts, and the virtuosity with which he was to invent the teeming lines of his greatest pieces, in which individual instruments often acquire a dramatic character of their own, was a direct result of his training. "To Nadia notes mattered a great deal, everything had to be justified. It was a whole world in which you had to think how every note fitted in; we were concerned not just with the detail of things, but with the total effect."
The music Carter composed when he returned to America was more or less faithful to the neoclassical ethos. But in his crucial pieces of the immediate postwar years - beginning with the 1946 Piano Sonata and culminating in 1951 in the arching sweep of the First String Quartet, the work that really established Carter's international reputation ("In this country you play it and people walk out, but in Europe it made a big impression") - he began the journey of self-discovery towards writing the music he wanted to compose. It was a process that lasted until 1980, during which period new works emerged with almost painful slowness. "Every one of those pieces is a new sort of thought. This was the way I was developing, until finally I felt that I had found my vocabulary and there was no longer any need to experiment."
During that period, too, it was his supporters in Europe rather than the US who championed Carter's music. The composer and conductor Pierre Boulez was an early convert, and, in Britain, William Glock, controller of music at the BBC from 1959 to 1973, was a fervent supporter. "William played all my music on the radio at one time or another and that was very influential, and I also taught at Dartington Summer School when Peter Maxwell Davies and Harry Birtwistle were students there." Stravinsky publicly admitted his admiration for Carter's 1962 Double Concerto for piano and harpsichord, proclaiming it a masterpiece, and the two composers became good friends. His mind, Carter says, is now filled with memories of Stravinsky: of the older composer's kindnesses to him and his wife, of having dinner in a New York restaurant when Frank Sinatra approached Stravinsky for his autograph, and of one of his last meetings with the composer in New York a couple of weeks before Stravinsky's death in 1971, when the only music the old man wanted to listen to was Mozart's Magic Flute.
Carter's music is still more highly regarded across Europe than in the US, yet he has always been in an important sense an American composer. He has regularly drawn inspiration from US writers such as Walt Whitman, Elizabeth Bishop, Robert Lowell, John Ashbery and Hart Crane; the new song cycle he is working on uses texts by Wallace Stevens. And Carter maintains that his musical language has always been intrinsically American: "I've always thought that in some very important way my pieces came from jazz - with a regular beat background and improvisations on top of that." But first and foremost he remains an unrepentant modernist, backing up his uncompromising stance with a cast-iron classical training. His music has its own cast-iron integrity, too, a fierceness and emotional power that is sometimes hard to square with the genial man one meets; great composers aren't supposed to be so courteous, and so charming, as Elliott Carter unfailingly is.

妙的是昨翻過楊牧的英漢對照本
最後同意作者說的
莎士比亞對Berlioz影響大
不過他只是利用
Ariel 的話   就姑且如此一記
等待
他人

小野《一個運動的開始》1986

August 30, 2018, 3:52 am

≫ Next: John Locke,

≪ Previous: 略讀《法國浪漫主義時期的音樂與文學》Hector Berlioz『柏遼茲回憶錄 』

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2018年川瀨先生的《台灣電影》年刊 (日文；約2018年11月初出版)，專訪張毅。印小野《一個運動的開始》1986 中與他相關的部分......

1986年：小野、吳念真中影幼稚園畢業

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John Locke,

August 30, 2018, 6:45 am

≫ Next: Leonard Bernstein 1918-1990

≪ Previous: 小野《一個運動的開始》1986

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John Locke (1632-1704), The Philosopher of Freedom. - Blupete

www.blupete.com/Literature/Biographies/Philosophy/LockeQUOTES.htm

"It is one thing to show a man that he is in error, and another to put him in possession of truth." ( Essay Concerning Human Understanding , bk. IV, ch. 7, sec. 11.)

–John Locke, English philosopher, a founder of empiricism and political liberalism, was born #OTD 1632

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Leonard Bernstein 1918-1990

August 30, 2018, 12:00 pm

≫ Next: 關於 陳建忠《島嶼風聲》(楊翠、廖振富)

≪ Previous: John Locke,

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大師剛過完百歲生日。連 Google doodle 都來同慶。出版界應有他的傳記，才算合格的文化國。

Leonard Bernstein

"As for my unrestrained podium comportment: to this I will answer that that the one and only purpose my gestures serve is a musical one. I do not consciously set out to perform histrionics on the podium. If I did, it would immediately show up in the music. Phony gestures produce phony sounds.

For myself, I approach what I play not from a conductor’s point of view, but from a composer’s point of view. When I conduct the 'Eroica', as I recently have with the (New York) Philharmonic, I feel as though I’m actually writing the piece."

“Leonard Bernstein Talks About the Critics”
John Gruen, New York World Tribune Magazine, 1967

[Photograph courtesy of the New York Philharmonic Digital Archives.]

“I don’t know if you’re aware of what you mean, have meant for 30 years, to me and my music and to so many of my attitudes to life and to people. . . I hope you live forever.”

Leonard Bernstein
Letter to Aaron Copland, 1967

[Photo by Alexander Bernstein, 1976]







這種百歲紀念網站值得效法：

https://leonardbernstein.com/works/view/61/songfest

Works | Works | Leonard Bernstein

leonardbernstein.com

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http://www.newworldencyclopedia.org/entry/Serge_Koussevitsky

Music Pad 古典音樂史上的今天

6月4日 俄裔美籍庫塞維茲基去世

俄裔指揮家庫塞維茲基S. A. Koussevitzky在1951年6月4日去世，想到伯恩斯坦在《創見集》裡頭多次提到這位影響他很深的導師，便從書架上取了下來，幾乎是二十年前編的書。伯恩斯坦在1959年年底寫信給庫塞維茲基的遺孀，摘抄數段如下：

「今天的一切都異常清晰地喚起對S. A. K的回憶：地方、時間、沙漠的空氣，還有沙漠中那蒼涼、多石的山丘。就像這樣的一個日子，就像這樣的一個背景，我們坐著，凝望著一座類似的山丘。他只剩幾個月的壽命，雖然他和我當時都不知道。不過，他知道有東西將要完結；他以溫和的達觀說起時間和永恆，這是他從那乾乾的山丘體認到的；並不悲傷，而是超越了悲傷。他知道有東西將要完結，因為他悄悄地、婉轉地交代任務給我－－待實現的夢想、待肩負的責任，以及待維護的標準。」
伯恩斯坦提到1943年，他臨危受命，代替生病的布魯諾華爾特登台，指揮紐約愛樂，當時庫塞維茲基還不知道這件事，自然也沒有給伯恩斯坦任何指點，但是，「他每個音，每個小節都在我身邊，提供我所需要的權威感、驅策我的想像力、引導並克制我的熱情。我還聽得見他說：『當你站在你的樂團面前，要站得筆直，像太陽下的一顆大樹。用正眼打量樂團的每一個人，每一個人，直到你掌握了他們，很慢很慢地，舉起指揮棒，然後就開始。你在樂團面前就等於是魔術師，準備揭開作曲家的奧祕。』」
「落日幾乎依禿山而盡；寒意乍起，而我也得回屋裡去做點研究。下星期我又要指揮；桌上的巴爾扥克《為管絃樂團所寫的協奏曲》攤開等著我。這是庫塞維茲基委託創作的作品。一脈相傳，至今未絕。」
庫塞維茲基在俄國的時候，也兼營樂譜出版，或許是這種出版的思維根植在庫塞維茲基的想法中，他對於刺激創作活動、保存作品也比很多音樂家更為熱衷。
他的事蹟和留下的遺產，在出版業艱困求存的年代，是一則勵志故事。
https://www.youtube.com/watch?v=n2JanKszFoQ

Leonard Bernstein

"The gift of the imagination is by no means an exclusive property of an artist; it is a gift we all share; to some degree or other all of us, all of you, are endowed with the powers of fantasy. The dullest of dullards among us has the gift of dreams at night – visions and yearnings and hopes. Everyone can also think; it is the quality of thought that makes the difference – not just the quality of logical thinking, but of imaginative thinking."
-Leonard Bernstein, Commencement Speech at Johns Hopkins University, May 30, 1980

(Photo credit James Lightner)

Leonard Bernstein

On this day in 1971, Leonard Bernstein conducted his one-thousandth New York Philharmonic concert--a historic milestone. For this occasion, Bernstein conducted ‪#‎Mahler‬'s "Resurrection" Symphony No. 2.

Bernstein dedicated the concert “with affection and gratitude to all my Philharmonic colleagues, onstage and off, with whom I have shared three decades of joyful ‪#‎music‬-making."

The New York Times critic James R. Oestreich wrote: "As the two timpanists whaled away in the clamor of the finale, the head of a timpani stick flew off and sailed into the audience. That added bit of fireworks seemed wholly of a piece with the choral and orchestral tumult conjured by a master, and this remains, of the many candidates, my favorite moment from the ‪#‎Bernstein‬ years."

We share this photo of Maestro Bernstein rehearsing the New York Philharmonic:

*****
http://thisibelieve.org/essay/16368/

The Mountain Disappears

Leonard Bernstein - New York, New York

Broadcast during the 1950s

I believe in people. I feel, love, need and respect people above all else, including the arts, natural scenery, organized piety, or nationalistic superstructures. One human figure on the slope of a mountain can make the whole mountain disappear for me. One person fighting for the truth can disqualify for me the platitudes of centuries. And one human being who meets with injustice can render invalid the entire system which has dispensed it.

I believe that man’s noblest endowment is his capacity to change. Armed with reason, he can see two sides and choose: he can be divinely wrong. I believe in man’s right to be wrong. Out of this right he has built, laboriously and lovingly, something we reverently call democracy. He has done it the hard way and continues to do it the hard way–by reason, by choosing, by error and rectification, by the difficult, slow method in which the dignity of A is acknowledged by B, without impairing the dignity of C. Man cannot have dignity without loving the dignity of his fellow.

I believe in the potential of people. I cannot rest passively with those who give up in the name of “human nature.” Human nature is only animal nature if it is obliged to remain static. Without growth, without metamorphosis, there is no godhead. If we believe that man can never achieve a society without wars, then we are condemned to wars forever. This is the easy way. But the laborious, loving way, the way of dignity and divinity, presupposes a belief in people and in their capacity to change, grow, communicate, and love.

I believe in man’s unconscious mind, the deep spring from which comes his power to communicate and to love. For me, all art is a combination of these powers; for if love is the way we have of communicating personally in the deepest way, they what art can do is to extend this communication, magnify it, and carry it to vastly greater numbers of people. Therefore art is valid for the warmth and love it carries within it, even if it be the lightest entertainment, or the bitterest satire, or the most shattering tragedy.

I believe that my country is the place where all these things I have been speaking of are happening in the most manifest way. American is at the beginning of her greatest period in history–a period of leadership in science, art, and human progress toward the democratic ideal. I believe that she is at a critical point in this moment, and that she needs us to believe more strongly than ever before, in her and in one another, in our ability to grow and change, in our mutual dignity, in our democratic method. We must encourage thought, free and creative. We must respect privacy. We must observe taste by not exploiting our sorrows, successes, or passions. We must learn to know ourselves better through art. We must rely more on the unconscious, inspirational side of man. We must not enslave ourselves to dogma. We must believe in the attainability of good. We must believe, without fear, in people.

Composer, conductor, pianist and educator Leonard Bernstein was longtime music director of the New York Philharmonic, where he led the highly successfuly Young People`s Concerts series. Bernstein forged a new relationship between classical and popular music with his compositions "West Side Story,""On the Town.""Candide" and others.

2013.10.18上周同學小聚。吳國維兄還在談他搜集的許多Leonard Bernstein"演奏".....
今天在紐約時報看到他的訃聞， 才發現還沒為他集些資料。
90年代台灣有些他的訪談譯書， 我讀過。
我有這本傳記:Leonard Bernstein - Humphrey Burton - Google Books

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The definitive biography of one of the most influential, flamboyant, and multifaceted musical talents of the 20th century, a man whose concert hall performances ...

Leonard Bernstein, 72, Music's Monarch, Dies

By DONAL HENAHAN

Published: October 15, 1990

LEAD: Leonard Bernstein, one of the most prodigally talented and successful musicians in American history, died yesterday evening at his apartment at the Dakota on the Upper West Side of Manhattan. He was 72 years old.

Leonard Bernstein, one of the most prodigally talented and successful musicians in American history, died yesterday evening at his apartment at the Dakota on the Upper West Side of Manhattan. He was 72 years old.

Mr. Bernstein's spokeswoman, Margaret Carson, said he died of a heart attack caused by progressive lung failure.

His death followed by five days the announcement that Mr. Bernstein would retire from performing because of health problems. A heavy smoker for most of his life, he had been suffering from emphysema, pulmonary infections and a pleural tumor.

In recent months, Mr. Bernstein had canceled concerts in Japan and in Charleston, S.C., and a tour of Europe. He conducted his final performance at Tanglewood on Aug. 19, when he led the Boston Symphony in Britten's ''Four Sea Interludes'' and the Beethoven Seventh Symphony.

'Fated for Success'

Long before Mr. Bernstein became, at the age of 40, the youngest music director ever engaged by the New York Philharmonic, the drama critic Harold Clurman sized up the flamboyant musician's future: ''Lenny is hopelessly fated for success.''

It was Mr. Bernstein's fate to be far more than routinely successful, however. His fast-burning energies, his bewildering versatility and his profuse gifts for both music and theater coalesced to make him a high-profile figure in a dozen fields, among them symphonic music, Broadway musicals, the ballet, films and television.

Still, his hydra-headed success did not please all his critics. While he was music director of the Philharmonic from 1959 to 1969, some friends and critics urged him to quit and compose theater music full time. Many regarded him as potentially the savior of the American musical, to which he contributed scores for ''On the Town,''''Wonderful Town,''''Candide'' and ''West Side Story.''

Determining His Focus

At the same time, others were deploring his continued activity in such fields, contending that to be a successful leader of a major orchestra he would have to focus on conducting.

Still other observers of the Bernstein phenomenon wished he would concentrate on the ballet, for which he had shown an affinity (''Fancy Free,''''Facsimile''), or on opera and operetta (''Trouble in Tahiti,''''Candide'').

Or on musical education. His television programs on such subjects as conducting, symphonic music and jazz fascinated millions when he appeared on ''Omnibus,'' the cultural series, and later as star of the Philharmonic's televised Young People's Concerts.

And still others, a loyal few, counseled Mr. Bernstein to throw it all over and compose more serious symphonic scores. His gifts along this line were apparent in such works as his Symphony No. 1 (''Jeremiah'') of 1942, Symphony No. 2 (''The Age of Anxiety'') of 1949 and Symphony No. 3 (''Kaddish'') of 1963. He played the piano well enough to have made a separate career as a virtuoso. He was a facile poet. He wrote several books, including the popular ''The Joy of Music'' (1959). He was a teacher of rare communicative talent, as television audiences discovered.

But Mr. Bernstein resolutely resisted pressure to restrict his activities. During his decade as the Philharmonic's musical director, he grew steadily as an interpreter and as a technician.

His performances of Mahler's symphonies were almost universally conceded to be of the highest quality, and his recordings for Columbia Records of the complete set not only constituted the first such integral collection but also continue to be regarded as among the most idiomatic Mahler performances available. His obsession with that composer, in fact, has been credited with generating the Mahler boom in America.

His conducting of works by Classical composers like Mozart and Haydn, often derided in his earlier days, attracted more and more praise as his career unfolded and he could relax a little. ''There is nothing Lenny can't do supremely well,'' an acquaintance remarked several years ago, ''if he doesn't try too hard.''

The future Renaissance man of American music was born in Lawrence, Mass., on Aug. 25, 1918, the son of Samuel and Jennie Resnick Bernstein. His father, a beauty-supplies jobber who had come to the United States from Russia as a boy, wanted Leonard to take over the business when he grew up. For many years the father resisted his son's intention to be a musician.

The stories of how he discovered music became encrusted with legend over the years, but all sources agree he was a prodigy. Mr. Bernstein's own version was that when he was 10 years old his Aunt Clara, who was in the middle of divorce proceedings, sent her upright piano to the Bernstein home to be stored. The child looked at it, hit the keys and cried: ''Ma, I want lessons!''

Until he was 16, by his own testimony, he had never heard a live symphony orchestra, a late start for any musician, let alone a future musical director of the Philharmonic. Virgil Thomson, while music critic of The New York Herald Tribune in the 1940's, commented on this:

''Whether Bernstein will become in time a traditional conductor or a highly personal one is not easy to prophesy. He is a consecrated character, and his culture is considerable. It might just come about, though, that, having to learn the classic repertory the hard way, which is to say after 15, he would throw his cultural beginnings away and build toward success on a sheer talent for animation and personal projection. I must say he worries us all a little bit.'' These themes - the concern over Mr. Bernstein's ''talent for animation'' and over his penchant for ''personal projection'' - were to haunt the musician through much of his career.

Economy of Motion Not His Virtue

As for ''animation,'' that theme tended to dominate much of the criticism of Mr. Bernstein as a conductor, particularly in his youthful days. Although he studied conducting in Philadelphia at the Curtis Institute with Fritz Reiner, whose precise but tiny beat was a trademark of his work, Mr. Bernstein's own exuberant podium style seemed modeled more on that of Serge Koussevitzky, the Boston Symphony's music director. The neophyte maestro churned his arms about in accordance with some inner message, largely ignoring the clear semaphoric techniques described in textbooks. Often, in moments of excitement, he would leave the podium entirely, rising like a rocket, arms flung aloft in indication of triumphal climax.

So animated, in fact, was Mr. Bernstein's conducting style at this point in his career that it could cause problems. At his first rehearsal for a guest appearance with the St. Louis Symphony, his initial downbeat so startled the musicians that they simply looked in amazement and made no sound.

Like another prodigally gifted American artist, George Gershwin, Mr. Bernstein divided his affections between the ''serious'' European tradition of concert music and the ''popular'' American brand. Like Gershwin, he was at home in jazz, boogie-woogie and the cliches of Tin Pan Alley, but he far outstripped his predecessor in general musical culture.

In many aspects of his life and career, Mr. Bernstein was an embracer of diversity. The son of Jewish immigrants, he retained a lifelong respect for Hebrew and Jewish culture. His ''Jeremiah'' and ''Kaddish'' symphonies and several other works were founded on the Old Testament. But he also acquired a deep respect for Roman Catholicism, which was reflected in his ''Mass,'' the 1971 work he wrote for the opening of the John F. Kennedy Center for the Performing Arts in Washington.

A similar catholicity was reflected throughout his music. His choral compositions include not only songs in Hebrew but also ''Harvard Songs: Dedication and Lonely Men of Harvard.'' He was graduated in 1939 from Harvard, where he had studied composition with Walter Piston and Edward Burlingame Hill.

A sense of his origins, however, remained strong. Koussevitzky proclaimed him a genius and probable future musical director of the Boston Symphony - ''The boy is a new Koussevitzky, a reincarnation!'' - but the older conductor urged Mr. Bernstein to improve his chances for success by changing his name. The young musician replied: ''I'll do it as Bernstein or not at all!''

He pronounced the name in the German way, as BERN-stine, and could no more abide the pronounciation BERN-steen than he could enjoy being called ''Lenny'' by casual acquaintances.

In a sense, he was in lifelong flight from Lenny Bernstein, from being treated as the raffish ''ordinary guy'' that the nickname seemed to suggest. Although some elder members of the New York Philharmonic never stopped calling him Lenny, Mr. Bernstein lived down the nickname, and in his late years heard himself addressed almost reverentially as ''Maestro'' in the world's music capitals. The man who had been patronized in print for many years as ''Glamourpuss'' or ''Wunderkind of the Western World'' became a favorite of Vienna both as conductor and as accompanist for such lieder specialists as Dietrich Fischer-Dieskau and Christa Ludwig.

Fame brought the usual honorary degrees, and honors far beyond the usual. He not only conducted at La Scala in Milan, at the Metropolitan Opera and at the Staatsoper in Vienna, but he was also invited by Harvard in 1973 to lecture, as Charles Eliot Norton Professor of History, on linguistics as applied to musical analysis. The distinction had previously been conferred on Robert Frost, T. S. Eliot, Igor Stravinsky, Aaron Copland and Paul Hindemith. Typically, Mr. Bernstein's Harvard performance was greeted with a mingling of critical raves and boos.

Harvard played an important part in Mr. Bernstein's rise, providing a pinch of Brahminism. The boy whose bar mitzvah was at Temple Mishkan Tefila had gone on to the elite Boston Latin School, and graduated cum laude from Harvard with a B.A.

During his last semester at Harvard, he organized and led a performance of Marc Blitzstein's ''Cradle Will Rock,'' a left-wing musical that had been banned in Massachusetts, but that could not be proscribed within the academic walls. It was not his first fling as a producer. At age 16 he had starred in his own production of ''Carmen'' at a summer camp, playing the title role alluringly in wig and black gown.

It was as a result of another schoolboy production, at Camp Onota in the Berkshires, that he met Adolph Green, with whom he later collaborated in several Broadway musicals. Mr. Bernstein was a camp counselor and theater director and Mr. Green was in ''The Pirates of Penzance.''

An Unlikely Start For a Conductor

Subsequently, when Mr. Bernstein was out of a job in New York City, he looked up Mr. Green, moved in with him in his East Ninth Street apartment in Greenwich Village, and began playing the piano at the Village Vanguard for a group called the Revuers. The ensemble included, besides Mr. Green, his musical comedy collaborator Betty Comden and the actress Judy Holliday.

Mr. Bernstein met Aaron Copland at Harvard in 1937, and through him came to know two other aspiring composers, Roy Harris and William Schuman. Admiring his intuitive grasp of modern music and his phenomenal skill at playing complex orchestral scores on the piano, the composers agreed that Mr. Bernstein should become a conductor. Dimitri Mitropoulos, the New York Philharmonic's music director, met Mr. Bernstein in 1938 and added to the consensus.

At that point, Mr. Bernstein ''didn't know a baton from a tree trunk,'' as he later put it.

Nevertheless, he had made up his mind. Because he had applied at the wrong time of the year and was turned down by the Juilliard School, he went to Philadelphia to audition for Reiner's conducting class at the Curtis Institute. The Hungarian maestro opened a score in the middle, put it on the piano and told Mr. Bernstein to play until he could recognize the piece.

The aspiring conductor, who was having difficulty seeing the music because he was suffering from an allergic reaction to Copland's cat, nevertheless discerned that the work was the ''Academic Festival'' Overture of Brahms. He was accepted.

At Curtis, he studied conducting with Reiner and piano with Isabella Vengerova. His earlier piano teachers included a neighbor, Freida Karp, Helen Coates and Heinrich Gebhard. In 1940 he went to Tanglewood, where he studied at the Berkshire Music Center with Koussevitzky, who quickly adopted Mr. Bernstein and called him Lenyushka.

In later years, Mr. Bernstein prided himself on having retained the respect and friendship of both Koussevitzky and Reiner, who held virtually opposing ideas about what a conductor should do and how he should do it. But the story as the famously irascible Reiner told it to acquaintances was different: ''He didn't leave me for Koussevitzky - I threw him out.''

In truth, not all of Mr. Bernstein's associations with elder colleagues were warm and collegial. In John Gruen's biographical ''The Private World of Leonard Bernstein,'' published in 1968, Mr. Bernstein asserted that Artur Rodzinski had once pinned him against the wall of a dressing room, trying to choke him because of jealousy over the young assistant's flair for publicity. But according to Mr. Bernstein, Rodzinski had by this time become somewhat peculiar: he always carried a gun in his back pocket, for instance, for psychological support when he faced the orchestra.

A Boycott Causes Stumble at the Start

It was Rodzinski, however, who gave Mr. Bernstein his chance at conducting the New York Philharmonic at a lean time when the young man was scraping along as a musician in New York. When he was 22, Mr. Bernstein had been offered a guest-conducting engagement with the Boston Symphony by Koussevitzky but had been forced to refuse. The American Federation of Musicians, to which Mr. Bernstein belonged, advised its members to boycott the Boston Symphony, the last of the major orchestras remaining unorganized. Mr. Bernstein tried to mark time by opening a teaching studio in Boston, he later recalled, but ''nobody came.''

That fall, he moved to New York, where he fared hardly better.

Eventually he got a $25-a-week job at Harms-Remick, a music-publishing house, where his duties included listening to Coleman Hawkins and Earl (Fatha) Hines, and getting their jazz down on paper. He also wrote popular arrangements under the name of Lenny Amber (Bernstein in English).

The Philharmonic offer by Rodzinski came without warning. Rodzinski had heard Mr. Bernstein conduct a rehearsal at Tanglewood, remembered the young man, and after an hour's discussion, had hired him as an assistant for the 1943-44 season.

Assistant conductors by tradition do a great deal of assisting, but not much conducting. Destiny had other plans for Leonard Bernstein, however, and when opportunity knocked one Sunday afternoon in 1943, he was ready to open the door. On Nov. 14, Bruno Walter fell ill and could not conduct the Philharmonic. The young assistant took over his program (works by Schumann, Rosza, Strauss and Wagner) and achieved a sensational success. Because the concert was broadcast over radio and a review appeared on page 1 of The New York Times the next day, the name of Leonard Bernstein suddenly became known throughout the country.

''Typical Lenny luck,'' some longtime Bernstein observers said. But Mr. Bernstein had given luck a hand: Knowing that Walter was not feeling well, he had studied the program's scores especially hard, just in case. At 25, he had become a somebody in the symphonic world.

After that break, though he was still more then a decade away from becoming music director of the Philharmonic, Mr. Bernstein began to consolidate his gains. He put in three exciting but financially unproductive seasons (1945-48) as conductor of the New York City Symphony. He received no fee, and neither did the soloists.

In 40's, Celebrity And Back Muscles

In the late 1940's Mr. Bernstein bloomed as a public figure. He came to be a familiar sight at the Russian Tea Room, at Lindy's and at Reuben's. Columnists reported that he liked boogie-woogie, the rumba and the conga, and that female admirers swooned when he stepped on the podium.

Tallulah Bankhead once watched Mr. Bernstein conduct a Tanglewood rehearsal and said to him in her husky baritone: ''Darling, I have gone mad over your back muscles. You must come and have dinner with me.''

Just about everyone in those years wanted Mr. Bernstein. The United States Chamber of Commerce named him as one of the outstanding men of the year, along with Nelson A. Rockefeller and John Hersey. His fans, it was reported, ripped at his clothes and attacked him in his car. Paramount tested him for the title part in a film about Tchaikovsky, but he was turned down, according to the conductor, because ''my ears were too big.''

Mr. Bernstein, in fact, looked the part of a pop idol with his strong profile and wavy black hair.

Musically, his career was on the upswing, too. In 1947 he conducted a complete Boston Symphony concert as a guest, the first time in Koussevitzky's 22-year reign that any other conductor had been permitted to do that in Carnegie Hall. He served as musical adviser of the Israel Philharmonic Symphonic Orchestra for the 1948-49 season. He was a member of the Berkshire Music Center from 1948 and head of its conducting department from 1951. He served as professor of music at Brandeis University from 1951 to 1956.

In 1953 Mr. Bernstein became the first American-born conductor to be engaged by La Scala in Milan, Italy's foremost opera house, leading a performance of Cherubini's ''Medea'' with Maria Callas in the title role.

During the six-year tenure of Mitropoulos as music director of the Philharmonic, beginning in the 1951-52 season, Mr. Bernstein was a frequent guest conductor. In 1957-58, the two worked jointly as principal conductors of the orchestra. A year later, Mr. Bernstein was named music director.

The New York appointment would have been a severe test of any conductor. The orchestra's quality had gone downhill, its repertory had stagnated and audiences had fallen off. Orchestra morale was low and still sinking. Mr. Bernstein leaped in with his customary brio and showmanship and his willingness to try new ideas.

He designated the Thursday evening concerts as ''Previews,'' at which he spoke informally to the audience about the music. He built his season around themes like ''Schumann and the Romantic Movement'' and ''Keys to the 20th Century.'' Strange-sounding works by avant-garde composers like Elliott Carter, Milton Babbitt, Karlheinz Stockhausen, Gunther Schuller and John Cage began to infiltrate the Philharmonic's programs. He took the orchestra on tours to Latin America, Europe, Japan, Alaska and Canada.

It sometimes seemed that Mr. Bernstein could not possibly squeeze in one more engagement, one more social appearance. During one particularly busy stretch, he conducted 25 concerts in 28 days. His conducting style accurately reflected his breathless race through life. Although in later years he toned down his choreographic manner, he remained one of the more consistently elevating conductors of his time. That irrepressible buoyancy sometimes led to trouble: in 1982 he fell off the stand in Houston while conducting Tchaikovsky and two years later encored that frightening stunt while leading the Vienna Philharmonic in Chicago. The worst injury he suffered, however, was a bruise from a medallion he wore around his neck.

Throughout his Philharmonic years, he kept his ties with Broadway and the show-business friends he had made before he became an internationally adulated maestro. He had already written music for the musical version of ''Peter Pan'' (1950) and ''The Lark,'' a play starring Julie Harris (1955). For Hollywood, he wrote the score to ''On the Waterfront'' (1954). Musical successes on the stage followed: ''On the Town'' (1944), ''Wonderful Town'' (1953), ''Candide'' (1956) and ''West Side Story'' (1957). Several of the stage works continue to thrive: in 1985 Mr. Bernstein conducted a quasi-operatic version of ''West Side Story'' (the cast included Kiri Te Kanawa and Jose Carreras) that pleased him immensely and introduced the work to a new generation of listeners.

Then there were the ballets ''Fancy Free'' (1944) and ''Facsimile'' (1946); the song cycles ''I Hate Music'' and ''La Bonne Cuisine''; the ''Jeremiah'' and ''Age of Anxiety'' symphonies; the one-act opera ''Trouble in Tahiti''; Serenade for violin and string orchestra with percussion; the Symphony No. 3 (''Kaddish''), and the ''Chichester Psalms.''

In the years after he had left the music directorship of the Philharmonic to become the orchestra's laureate conductor, he returned to the theater. He created the ecumenical and controversial ''Mass'' and, with Jerome Robbins, the ballet ''Dybbuk,'' staged by the New York City Ballet in 1974.

Mr. Bernstein's life took a turn toward greater stability in 1951 when he married the actress Felicia Montealegre Cohn. Her American father had been head of the American Smelting and Refining Company in Chile and she had been sent to New York City to study the piano. After several years of off-and-on romance, they were married in Boston. They had three children: a daughter, Jamie, a son, Alexander Serge (named for Serge Koussevitzky) and a second daughter, Nina.

In addition to his children, who all live in New York City, and his mother, of Brookline, Mass., Mr. Bernstein is survived by a sister, Shirley Bernstein of New York City, and a brother, Burton, of Bridgewater, Conn.

Mr. Bernstein and his wife began a ''trial separation'' after 25 years of marriage. They continued, however, to appear together in concerts, one such occasion being a program in tribute to Alice Tully at Alice Tully Hall, where Mr. Bernstein conducted Sir William Walton's ''Facade'' with his wife as one of the two narrators. Mrs. Bernstein died in 1978 after a long illness.

After leaving the music director's post with the Philharmonic in 1969, Mr. Bernstein hardly curtailed his frantic activities. He continued to guest-conduct, to record for Columbia Records, to conduct at the Metropolitan Opera and to play the piano for lieder recitalists. His company, Amberson Productions, which he had formed with his friend Schuyler G. Chapin to handle his diverse interests, expanded into the new field of videocassettes.

Mr. Bernstein, a longtime Democrat and liberal, took a deep interest in politics and was a friend of the Kennedys. His ''Mass'' was dedicated to John F. Kennedy. Among guests at fund-raising parties in his apartment during the late 1960's, one could find some of the leading civil-rights advocates of the period, a form of hospitality that inspired the writer Tom Wolfe to coin the term ''radical chic.'' In his book ''Radical Chic & Mau-Mauing the Flak Catchers,'' Mr. Wolfe described a fund-raising party that Mr. Bernstein gave for the Black Panthers.

During Mr. Bernstein's Philharmonic decade, the orchestra engaged its first black member, the violinist Sanford Allen.

He continued composing, if only in spurts. Late works included ''Jubilee Games,''''Arias and Barcarolles,''''Halil'' and a sequel to his opera ''Trouble in Tahiti'' entitled ''A Quiet Place.'' After its premiere in Houston in 1983, ''A Quiet Place'' was produced at the Vienna State Opera, La Scala and the Kennedy Center in Washington.

Almost to the time of his death, Mr. Bernstein carried on a bewildering variety of activities, rushing about the world with the same tireless abandon that had characterized his life in the days when he was churning out a hit a season on Broadway.

But Broadway had changed by the time Mr. Bernstein's final theatrical score reached the Mark Hellinger Theater in March 1976. The long-awaited work that he and Alan Jay Lerner had composed, ''1600 Pennsylvania Avenue,'' closed after seven performances.

He turned up in Israel, where the Israel Philharmonic was putting on a Leonard Bernstein retrospective festival to celebrate the 30th anniversary of his debut on an Israeli podium. During a two-week period, his music was heard in concert halls, theaters, movie houses and other auditoriums all over the country. In 1988, when he was 70 years old, Mr. Bernstein was named laureate conductor of the Israeli orchestra. That birthday year brought honors from all directions, but none seemed to gratify him more than the celebration staged for him at the Tanglewood Festival, scene of so many triumphs early in his career. On Nov. 14, 1988, to mark the 45th anniversary of his Philharmonic conducting debut, he led the orchestra in an all-Bernstein concert.

Laurel wreaths continued to shower on him in his last decades. Elected to the American Academy and Institute of Arts and Letters in 1982, he was awarded the Academy's Gold Medal three years later. The city of Milan, home of La Scala, also gave him its Gold Medal.

A discordant note sounded in 1989 when he refused to accept a medal from the Bush Administration, apparently as a protest against what he regarded as censorship of an AIDS exhibition by the National Endowment for the Arts. Like many other artists and public figures, he contributed his services at concerts to benefit the fight against AIDS.

Mr. Bernstein's private life, long the subject of rumors in the musical world, became an open book in 1987 when his homosexuality was brought to wide public attention by Joan Peyser's ''Bernstein: A Biography.''

As Age Advances, The Pace Does Too

Far from slowing down as age encroached, Mr. Bernstein seemed to accelerate. Last Christmas he led a performance of Beethoven's Ninth Symphony in Berlin to celebrate the crumbling of the wall between East and West Germany. With typical flair, he substituted the word ''Freiheit'' (''Freedom'') for the poet's ''Freude'' (''Joy'') in the choral finale. The East German Government bestowed on him its Star of People's Friendship Medal.

Although he had reportedly refused an offer to return to the New York Philharmonic as music director, he was scheduled to conduct six weeks of concerts for the next few seasons. Before collapsing from exhaustion this year in Japan, Mr. Bernstein had taken part in the Pacific Music Festival.

Late in his extraordinarily restless and fruitful life, Mr. Bernstein defended his early decision to spread himself over as many fields of endeavor as he could master. ''I don't want to spend my life, as Toscanini did, studying and restudying the same 50 pieces of music,'' he wrote in The Times.

''It would,'' he continued, ''bore me to death. I want to conduct. I want to play the piano. I want to write for Hollywood. I want to write symphonic music. I want to keep on trying to be, in the full sense of that wonderful word, a musician. I also want to teach. I want to write books and poetry. And I think I can still do justice to them all.''

Photos: Leonard Bernstein (Steve J. Sherman, 1988) (pg. A1); Leonard Bernstein conducting the New York Philharmonic during his farewell concert as he retired as music director in 1969. (Michael Evans/The New York Times); Mr. Bernstein at the keyboard in 1945. (Graphic House); Leonard Bernstein instructing singers from the cast of ''West Side Story'' in 1957. At the piano was Stephen Sondheim, who was co-lyricist. (Friedman-Abeles) (pg. B6)

關於 陳建忠《島嶼風聲》(楊翠、廖振富)

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廖振富分享了 1 篇網誌。




今天下午在臺北有陳建忠教授的兩本新書發表會，我因早已受邀擔任岩上老師學術研討會的主持人，無法北上參加。這篇楊翠的推薦序，對建忠的學術志業與貢獻，有非常精切而動人的分析，值得一讀。我這個月發表在幼獅文藝的專欄文章，也曾向建忠致意。誠懇期盼對台灣文學有興趣的朋友，購買這兩本來閱讀。



燃燒自我的行動派學者－我認識的陳建忠教授

廖振富·2018年8月4日 星期六

我初識陳建忠教授大約是2002年，當時他剛獲得博士不久，擔任靜宜大學中文系助理教授，我則受邀在中文系碩士班兼課，而他的學術研究成績已逐漸嶄露頭角，我常聽學生說起他嚴謹紮實的教學風格，以及他對學生的關懷與密切互動。
當時靜宜大學中文系開風氣之先，在國立大學的臺灣文學系所都還沒成立之前，率先在碩士班成立臺灣文學組，匯聚了不少臺灣文學研究的學者、作家。隨後數年，風起雲湧，幾所國立大學紛紛創設臺灣文學系所。然而看似一片榮景的背後，臺灣文學研究同時潛藏著諸多危機與挑戰，不同學校的臺文學者、乃至各校臺文系所內部的師生關係，往往有一股共同開疆闢土，齊心對抗外在的艱辛環境，為這個新興學科攜手奮鬥的革命情誼。
論年齡，我比建忠虛長12歲，但他用功之勤、治學之嚴謹遠非我能企及，因此我對他從內心萌生一股強烈的敬意。後來我們有更多機會互動，包括我幾度邀請他來我的課堂演講，我們分別帶領清大、興大的研究生一起到霧峰林家參訪，而他發起的跨校組織「臺灣文學研究會」，也曾邀我分享研究心得等等。日益熟識之後，我們談話也就更為深入，除了學術議題，也會分享個人生活，感覺更加親近。記得有一次他來我的課堂演講，因為他兩個孩子還小，夫人阿枝也擔任教職，他不希望有虧父親的腳色，演講一結束，就匆匆趕回新竹接孩子放學。
另一次，他因投稿學術期刊的論文，原已通過審查卻又被無端封殺，深覺受辱卻有苦難言，他對臺灣文學研究懷抱著無比的理想與熱情，誰料學界生態竟如此詭譎複雜，其抑鬱與悲憤不難想見。但他選擇的回應方式，卻是加倍的努力與勤奮，不斷發表更多具有開創性的研究成果。同時間，他對學生嚴格督導、再三激勵，也同樣付出龐大的時間與心力，學生常在深夜收到他批改報告的意見，而他指導撰寫學位論文的研究生，有的因為碰到困難而刻意逃避，他總是不放棄他們，並剴切鼓勵，逐一教導論文細節。對許多被他教過的學生而言，他既是嚴師，也是慈父。
2013年9月，黃美娥教授邀請我與幾位臺灣文史學者一起到北京，參加中國社科院文學所主辦的「重返臺灣的近代」學術工作坊。當時建忠正在北京大學擔任訪問學人，也應邀出席發表論文。我們到達當天剛好是中秋節，我專程帶了著名的犁記綠豆椪月餅，讓他一解鄉愁。幾日的歡聚中，除了與中國學者進行深入的學術交流之外，我們還同遊不少北京的文化景點，印象最深的是，在雍和宮外的樹蔭下，我們聊了很多生活近況、學界觀察，以及他的中國見聞，互相激勵，也互吐積鬱。

回顧建忠的學術研究歷程，1997年3月他以《宋澤萊小說研究（1972~1987）》獲得碩士學位，相隔不到四年， 2001年1月他隨即以《書寫臺灣‧臺灣書寫：賴和的文學與思想研究》獲得博士學位，這一年他正當英姿煥發的30歲盛年。他的博士論文於2004年1月由高雄春暉出版社出版，碩士論文經改寫後，也在2007年以《走向激進之愛：宋澤萊小說研究》之名，由臺中晨星出版社出版。除了出版兩本學位論文。2004年8月、2007年1月，他又陸續出版《日據時期臺灣作家論：現代性、本土性、殖民性》、《被詛咒的文學：戰後初期（1945～1949）臺灣文學論集》兩本著作，絕對是新生代學者中的佼佼者。另外，他與邱貴芬教授合編《臺灣小說史論》，撰稿者除建忠外，還有張誦聖、應鳳凰、邱貴芬、劉亮雅等資深學者，他是其中最年輕的一位。而他持續發表的論文更是不曾中斷，單單計算他從碩士畢業到病倒的18年間，累積的研究成果可能超過很多學者一生的學術成績。

除了學術研究，他關切臺灣文學研究的發展前景，特別注意人才培育問題，2014年5月國立臺灣文學館主辦多年的「全國臺灣文學研究生研討會」，及「臺灣文學傑出博碩士論文獎助」似有停辦之議，他獲悉後強烈呼籲不宜率爾中止。臺灣文學館乃邀集各校相關系所教授在臺北齊東詩舍開會，最後決議兩項活動都將續辦，此一事件的關鍵人物正是建忠。他事後在臉書寫道：「放砲終有成效，也該是值得高興的事。諸位研究生以後可要好好表現，把稿件與論文灌爆主辦單位的信箱啊！」其行動力來自強烈關切臺灣文學研究的人才培育與永續發展，不計毀譽與個人得失。

升等教授後，他兼任清大臺文所所長，不但責任更重，行政工作的拖磨導致身心負荷加劇。他用燃燒生命的方式，全心全力投入閱讀、教學、研究，幾近不眠不休，又需兼顧家庭，卻嚴重忽略了肉身的局限，透支過度而戕害健康。病倒迄今，學界師友、學生無不憂心如焚，默默祝禱，期待他能早日醒來，繼續與大家共同奮鬥。我幾次去竹北的安養中心探視，有一次他正在做例行的復健工作，身體被架直挺立。我跟他說起兩人在北京雍和宮外暢談的過往，他激動的雙唇囁嚅著想對我說話，瞪大的雙眼直視著我，眼角甚至淌了幾顆淚珠，我只能不斷跟他說：「建忠，你一定要好起來，我們都在等你」。

這次建忠的學生共同整理他的論文，編成《冷戰新視野》、《歷史新想像》兩本專書，為師生真情留下珍貴的見證，讓人感動。這兩本書收錄了18篇擲地有聲的論述，涵蓋議題廣泛涉及50、60年代臺灣文學史重寫，臺灣現代文學與香港文學、中國文學的比較研究，臺灣歷史小說，至於作家個案更遍及臺灣、香港、中國不同時期的代表性作家，其用功之勤與涉獵之廣，可見一斑。

前些時候，我曾兩度夢見建忠醒來，夢中驚喜地問他：「建忠，你終於醒來了，這段時間你的妻兒好辛苦啊！」內心又不免暗暗想：「這是真的嗎?」如此清晰的夢境歷歷在目，我深信這是眾多親友共同的願望，我們也都衷心期盼：美夢成真，終有到來的一天。（2018年6月22日，於臺灣文學館）

永遠清醒的唐吉訶德 序陳建忠《島嶼風聲》

楊翠·2018年8月31日 星期五

　　初識建忠，大約2001年前後，在大肚山紅土坡，那時他剛翻過30歲，是台灣文學研究界最耀眼的新星。

　　這以後，我與建忠結成莫逆之交。相識近20年，我見證了建忠的「認真較勁」，他總是堅守理念，維持昂揚動能，不曾因為台灣文學體制化過程中，現實的熾熱或虛弱，而有所變質。

　　射手座的建忠，面對公眾、言說論理時，言辭精準，邏輯清晰，口才便給，還兼清俊帥氣，靜宜第一屆台文系學生戲稱他是靜宜台文的「人間四月天」；然而，真實的建忠，其實非常內斂、緊張，總是與自己較勁，在某些事情上，甚至可以用「嚴肅」來形容，他的生命體質與生活節奏，恆常如箭在弦，充滿緊繃感。

　　這樣的建忠，成為我常掛在口中的「台灣文學研究界最知交的男性友人」，有些開玩笑，更多是事實。也許是人生信念、學術理念、現實關懷、台灣意識都極為貼近吧，更也許是彼此都辨識出一種相似的生命情調，我們在明朗陽光的外表底下，都埋藏著深斂、緊張、緊繃、無法真正釋放、一再跟自己拔河的生命底蘊。每每在學術研討會場合相遇，我們總是互虧互嗆，相互調侃，這時候的建忠，看來輕鬆許多，而我相信，這些歡言笑語，其實是一場互動式臨床諮商，我們藉此彼此療癒，分頭持續前行。

　　建忠出身中文系所，卻從事台灣文學研究，他可以說是台灣文學研究體制化從新生、開展、高峰、詭譎，這一路風景的行動者與見證者。

　　青年建忠，以小說家宋澤萊為題撰寫碩士論文，他曾對宋澤萊進行深入的田野訪談，觸及宋澤萊精神圖像中最深刻幽微的區塊：父親形象與父子關係。宋澤萊曾對我說，因為陳建忠太厲害，害他自然而然說出長年守藏、不願揭露的父親記憶，最初他有些後悔，後來卻感謝建忠為他打開這條通路，讓他與父親重新相遇相認。其實建忠不是什麼舌燦蓮花的訪談高手，他就是很認真地做了功課，很真誠溫柔地探觸到作家埋藏的敏感角落。

　　碩士之後的建忠，有如裝置了噴射引擎，快速而密集地交出豐富亮麗的成績單。博士論文《賴和的文學與思想研究：書寫台灣．台灣書寫》，在龐巨的前行研究者林瑞明的基礎上，關切賴和及其同時代的知識份子，在殖民地經驗、現代性思辨、本土意識之間，如何多軌交織出他們特有的思想圖景。

　　幾乎是從這個時候開始，建忠的學術關懷，就非常明確地朝向「台灣文學史」、「台灣精神史」兩軌交織的方向。建忠超過20年的研究路程，研究動能豐沛，研究主題發散，研究成果浩瀚，然而，他的核心關懷卻是一貫的，立身「台灣主體」的說話位置，扣緊「台灣文學史」、「台灣精神史」，鋪展一張豐富多元的對話線圖。

2004年出版的《日據時期台灣作家論：現代性、本土性、殖民性》，精準地以「現代性、本土性、殖民性」的複雜交陳、拉扯、疊覆、相生，論述日治時期台灣作家筆下的精神景觀。2007年出版的《被詛咒的文學：戰後初期（1945-1949）台灣文學論集》，延伸時間線，探析戰後初期各種思想光譜與權力場域的交鋒，包括統／獨、左／右、中國／台灣，還有曾經深植的日本文化，即將置入的美國文化，它們如何相互推擠，彼此置換，共織出戰後台灣人精神史的複雜紋理，同時反思戰後初期台灣文學史的既定構圖，重新以台灣主體的視角，拼寫戰後台灣文學史的新頁。

2010年以後，建忠以此核心關懷，將研究重心推向另一個區塊，即戰後一九五○到七○年代的台灣文藝體制與文學生產，亦即本書的核心課題。以我個人的看法，建忠這一系列的研究，是目前為止台灣文學研究界關於這個議題的論述中，最有見地與貢獻者之一。

關於這段時期的台灣文學，早期的研究定見，圍繞在美蘇冷戰、國共內戰的「雙戰結構」，再因不同的知識社群與意識型態位置，朝向幾個不同面向：其一是國民黨右翼的觀點，強調反共懷鄉文學的價值與意義；其二是左統的文學論述，朝向雙重批判：「雙戰結構」中，國府對左翼文學的壓制，以及向西化與美帝的傾斜；其三，台灣主體論述者也進行雙重批判：反思國家文藝體制壓制本土發聲，也批判現代主義主流美學典律，以逃避助長威權。近期的研究，雖然光譜差異仍大，但隱然產生一種「類共識」，將現代主義思潮與美學典律視為「進步的」，認為它是與國家文藝體制是錯開的，乃至是「反叛的」力量。

總之，關於這段時期的既有文學史論述，大抵是國府右翼收編了「反共敘事」，現代派收編了「進步」和「自由」敘事，左統收編了「左派敘事」。然而，陳建忠的一系列研究，不僅突破這種各擁版圖的框框，更拉到一個全新高度，他提出「雙體制論」，關注的不僅是作家、作品，更是文藝體制與文學生產的共構關係，更透過比較研究的策略，從台／港文藝思潮的對話路徑，從世界史的視角，敞開更廣闊的「閱看台灣」視野。

建忠的研究目的，絕非意圖「參與重寫台灣文學史」、爭取自己在台灣文學史論述中的話語權這麼簡單，他最主要的目標，是藉此透析台灣精神史的某個斷面。我認為，建忠這一系列研究的貢獻主要在兩個層面；首先，他建構出這段時期台灣文學生產的「雙體制論」，具體論證文學如何受到各種外在的、不同場域的權力政治的規範；其次，他藉此從「精神史」的角度，深探台灣作家作品中的深刻紋理。

建忠的「雙體制論」，一是國府所主導的「國家文藝體制」，一是美國通過美援所建構的「美援文藝體制」。他銳利地指出，國家文藝體制在反共敘事中追求「中國性」的文學生產，以及美援文藝體制在美學敘事中追求「現代性」的文學生產，這兩軌體制，看似分殊平行，實則交織互用，一剛性一軟性，以體制的力量，建構出兩種主流文學典律，共同成為此際的主導文化，主導文學生產。

他透過「雙體制論」意圖揭露，代表「進步」觀念、「與政治無涉」的現代主義美典，其實也是這些權力政治的產物：冷戰圍堵、國共內戰、白色恐怖、跨國公司、依賴經濟……。他所要強調的，首先是文學體制與文學生產的緊密關係；其次，他認為，僅討論戒嚴時期的「國家文藝體制」，無法重現當時文化／文學生態的真貌，必須同時觀察「國家文藝體制」與「美援文藝體制」的交織脈絡；其三，前述兩種體制都不乏論述者，但談論方式大抵是將「國家文藝體制」與「美援文藝體制」建構為平行關係，甚至認為後者隱藏著對抗前者的「潛文本」，而建忠的觀點則恰恰相反。

最後這點，正是建忠這一系列研究的關鍵貢獻，他也以此延伸出對「台灣現代主義文學」的重讀與再釋。本書中關於「美新處」（USIS）、吳魯芹、夏濟安與夏志清等人的相關研究，都在探析現代主義文學的美學典律，如何「被建構」 成為最高美學品味，他指出其背後湧動著各種權力，絕非「美學自主」可以簡單詮釋。

建忠犀利揭露，這個美學典律，並沒有表面看來那麼自主、自律，它不只是整個複雜文藝體制下的妥協結果，還是相互為用的；剛性體制以獨裁力量進行操控，軟性體制則以自由主義的敘事，變妝成「進步」、「反叛」的主流美典，掩蓋了權力操控的實質。他更指出，將現代主義思潮線性地解釋為「進步的」，甚至說它以「去政治化」來達成對國家主義與反共美學的批判，是簡化歷史，抽離脈絡的論述，事實上是：「受限於『戒嚴』與「親／和美」，現代派的反叛不及於現實上任何霸權性質的現代性體制的反叛。」

本書中幾篇關於張愛玲的重讀，也是在這個脈絡下進行。建忠銳利地指陳現代主義文學美典不能直接等同於自由、進步與反叛，因為它外不觸及現實議題，內未深入體制操控下的精神紋理；然而，對於張愛玲，他卻採取更溫柔、更貼近人性的閱讀策略。

建忠閱讀張愛玲，不是附庸於「張學」、「張派」的粉絲化見識，而是以「流亡文學」的視角重讀，他讀出張愛玲更真實、更真誠的心靈圖像，那是光影交織的，是鬼影幢幢的，是體制的壓迫、時代的銘刻，以及主體的流亡。建忠讀出張愛玲在不同的政治語境中，表面看似附從隨流，卻總是暴露出一塊政治不正確的漏洞，使她失去安置自身的位址，主體只能持續流亡。

對「雙體制」及主流美典的犀利，對張愛玲做為流亡主體的溫柔，以及對舒巷城、也斯的在地情懷的肯認，都足見建忠的清醒、溫暖與堅定。

對體制銳利，對人性溫柔，這就是我所認識的陳建忠。他是永遠清醒的唐吉訶德，清楚辨識巨人的方位，而我相信他的長矛，即使在深沉的靜默中，仍然蓄積著能量，等待重新點燃的那一日。

FATHERS AND CHILDREN (1862)

September 4, 2018, 12:11 am

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• 《父與子》（1862）耿濟之譯，商務印書館1922年1月初版

• 『父と子 （Отцы и дети）』 1862年

• 1862 – Ottsy i deti (Отцы и дети); English translation: Fathers and Sons

Fathers and Sons (Russian: «Отцы и дети»; Ottsy i deti, IPA: [ɐˈtsɨ i ˈdʲetʲi]; archaic spelling Отцы и дѣти), also translated more literally as Fathers and Children, is an 1862 novel by Ivan Turgenev, published in Moscow by Grachev & Co.^[1]

On this day in 1883, Iván Turgénev died in Bougival, France.

“Whereas I think: I’m lying here in a haystack... The tiny space I occupy is so infinitesimal in comparison with the rest of space, which I don’t occupy and which has no relation to me. And the period of time in which I’m fated to live is so insignificant beside the eternity in which I haven’t existed and won’t exist... And yet in this atom, this mathematical point, blood is circulating, a brain is working, desiring something... What chaos! What a farce!”
―from FATHERS AND CHILDREN (1862)

Ivan Sergeyevich Turgenev was born in 1818 in the Province of Orel, and suffered during his childhood from a tyrannical mother. After the family had moved to Moscow in 1827 he entered Petersburg University where he studied philosophy. When he was nineteen he published his first poems and, convinced that Europe contained the source of real knowledge, went to the University of Berlin. After two years he returned to Russia and took his degree at the University of Moscow. In 1843 he fell in love with Pauline Garcia-Viardot, a young Spanish singer, who influenced the rest of his life; he followed her on her singing tours in Europe and spent long periods in the French house of herself and her husband, both of whom accepted him as a family friend. He sent his daughter by a sempstress to be brought up among the Viardot children. After 1856 he lived mostly abroad, and he became the first Russian writer to gain a wide reputation in Europe; he was a well-known figure in Parisian literary circles, where his friends included Flaubert and the Goncourt brothers, and an honorary degree was conferred on him at Oxford. His series of six novels reflect a period of Russian life from 1830s to the 1870s: they are Rudin (1855), A House of Gentlefolk (1858), On the Eve (1859; a Penguin Classic), Fathers and Sons (1861), Smoke (1867) and Virgin Soil (1876). He also wrote plays, which include the comedy A Month in the Country; short stories and Sketches from a Hunter’s Album (a Penguin Classic); and literary essays and memoirs. He died in Paris in 1883 after being ill for a year, and was buried in Russia. READ more her: https://www.penguinrandomhouse.com/…/fathers…/9780679405368/

Ferdowsi's Shahnameh : The Book of Kings". 列王紀

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列王紀選  張鴻年譯，人民文學，1991

Shahnameh

 

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Shahnameh (Book of Kings) Abu'l Qasim Firdausi (935–1020)

The Shahnameh, also transliterated as Shahnama (Persian: شاهنامه‎ pronounced , "The Book of Kings"), is a long epic poem written by the Persian poet Ferdowsi between c. 977 and 1010 CE and is the national epic of Greater Iran. Consisting of some 50,000 "distichs" or couplets (two-line verses),[1] the Shahnameh is the world's longest epic poem written by a single poet. It tells mainly the mythical and to some extent the historical past of the Persian Empire from the creation of the world until the Arab conquest of Iran in the 7th century. Modern Iran, Azerbaijan, Afghanistan and the greater region influenced by the Persian culture (such as Georgia, Armenia, Turkey and Dagestan) celebrate this national epic.

The work is of central importance in Persian culture and Persian language, regarded as a literary masterpiece, and definitive of the ethno-national cultural identity of Iran.[2] It is also important to the contemporary adherents of Zoroastrianism, in that it traces the historical links between the beginnings of the religion and the death of the last Sassanid ruler of Persia during the Muslim conquest which brought an end to the Zoroastrian influence in Iran.

Faramarz, son of Rostam, mourns the death of his father, and of his uncle, Zavareh.

Composition

The assassination of Khosrau IIin a manuscript of the Shahnameh of Shah Tahmaspmade by Abd al-Samad in 1535

Ferdowsi started writing the Shahnameh in 977 AD and completed it on 8 March 1010.[3] The Shahnameh is a monument of poetry and historiography, being mainly the poetical recast of what Ferdowsi, his contemporaries, and his predecessors regarded as the account of Iran's ancient history. Many such accounts already existed in prose, an example being the Abu-Mansuri Shahnameh. A small portion of Ferdowsi's work, in passages scattered throughout the Shahnameh, is entirely of his own conception.

The Shahnameh is an epic poem of over 50,000 couplets, written in early Modern Persian. It is based mainly on a prose work of the same name compiled in Ferdowsi's earlier life in his native Tus. This prose Shahnameh was in turn and for the most part the translation of a Pahlavi (Middle Persian) work, known as the Xwadāynāmag ("Book of Kings"), a late Sassanid compilation of the history of the kings and heroes of Persia from mythical times down to the reign of Khosrau II (590–628). The Xwadāynāmag contained historical information on the later Sassanid period, but it does not appear to have drawn on any historical sources for the earlier Sassanid period (3rd to 4th centuries).[4] Ferdowsi added material continuing the story to the overthrow of the Sassanids by the Arabs in the middle of the 7th century.

The first to undertake the versification of the Pahlavi chronicle was Abu-Mansur Daqiqi, a contemporary of Ferdowsi, poet at the court of the Samanids, who came to a violent end after completing only 1,000 verses. These verses, which deal with the rise of the prophet Zoroaster, were afterward incorporated by Ferdowsi, with acknowledgment, in his own poem. The style of the Shahnameh shows characteristics of both written and oral literature. Some claim that Ferdowsi also used Zoroastrian nasks, such as the now-lost Chihrdad, as sources as well.[5]

Many other Pahlavi sources were used in composing the epic, prominent being the Kārnāmag-ī Ardaxšīr-ī Pābagān, which was originally written during the late Sassanid era and gave accounts of how Ardashir I came to power which, because of its historical proximity, is thought to be highly accurate. The text is written in the late Middle Persian, which was the immediate ancestor of Modern Persian. A great portion of the historical chronicles given in Shahnameh is based on this epic and there are in fact various phrases and words which can be matched between Ferdowsi's poem and this source, according to Zabihollah Safa.[6]

According to one account of the sources, a Persian named Dehqan in the court of King Anushehrawan Dadgar had composed a voluminous book in prose form, known as Khoday Nameh. After the fall of the Iranian Empire, Khoday Nameh came into the possession of King Yaqub Lais and then the Samani king Nuh ordered the poet Daqiqi to complete it, but Daqiqi was killed by his slave. Ferdowsi obtained the book through a friend.

Content

Kai Khorso enthroned holding the sword with which he will execute Afrasiyab for the murder of Siyavash

The Shahnameh provides a poetic account of the prehistory and history of Iran, beginning with the creation of the world and the introduction of the arts of civilization (fire, cooking, metallurgy, law), and ending with the Islamic Conquest of Persia. The work is not precisely chronological, but there is a general movement through time. Some of the characters live for hundreds of years but most have normal life spans. There are many shāhs who come and go, as well as heroes and villains, who also come and go. The only lasting images are those of Greater Persia itself, and of a succession of sunrises and sunsets, no two ever exactly alike, yet illustrative of the passage of time.

The work is divided into three successive parts: the "mythical", "heroic", and "historical" ages.

Father Time, a Saturn-like image, is a reminder of the tragedy of death and loss, yet the next sunrise comes, bringing with it hope of a new day. In the first cycle of creation, evil is external (the devil). In the second cycle, we see the beginnings of family hatred, bad behavior, and evil permeating human nature. Shāh Fereydūn's two eldest sons feel greed and envy toward their innocent younger brother and, thinking their father favors him, they murder him. The murdered prince's son avenges the murder, and all are immersed in the cycle of murder and revenge, blood and more blood. In the third cycle, we encounter a series of flawed shahs. There is a Phaedra-like story of Shāh Kay Kāvus, his wife Sūdābeh, and her passion for and rejection by her stepson, Sīyāvash.

It is only in the characterizations of the work's many figures, both male and female, that Zoroaster's original view of the human condition comes through. Zoroaster emphasized human free will. All of Ferdowsi's characters are complex; none is an archetype or a puppet. The best characters have flaws, and the worst have moments of humanity.

Traditional historiography in Iran has claimed that Ferdowsi was grieved by the fall of the Sassanid Empire and its subsequent rule by "Arabs" and "Turks". The Shahnameh, the argument goes, is largely his effort to preserve the memory of Persia's golden days and transmit it to a new generation so that they could learn and try to build a better world.[7]Although most scholars have contended that Ferdowsi's main concern was the preservation of the pre-Islamic legacy of myth and history, a number of authors have formally challenged this view.[8]

Mythical age

Scenes from the Shahnameh carved into reliefs at Ferdowsi's mausoleum in Tus, Iran

This portion of the Shahnameh is relatively short, amounting to some 2,100 verses or four percent of the entire book, and it narrates events with the simplicity, predictability, and swiftness of a historical work.

After an opening in praise of God and Wisdom, the Shahnameh gives an account of the creation of the world and of man as believed by the Sassanians. This introduction is followed by the story of the first man, Keyumars, who also became the first king after a period of mountain dwelling. His grandson Hushang, son of Sīyāmak, accidentally discovered fire and established the Sadeh Feast in its honor. Stories of Tahmuras, Jamshid, Zahhāk, Kawa or Kaveh, Fereydūn and his three sons Salm, Tur, and Iraj, and his grandson Manuchehr are related in this section.

Heroic age

Almost two-thirds of the Shahnameh is devoted to the age of heroes, extending from Manuchehr's reign until the conquest of Alexander the Great (Eskandar). This age is also identified as the kingdom of Keyaniyan, which established a long history of heroic age in which myth and legend are combined.[9] The main feature of this period is the major role played by the Saka or Sistānī heroes who appear as the backbone of the Persian Empire. Garshāsp is briefly mentioned with his son Narimān, whose own son Sām acted as the leading paladin of Manuchehr while reigning in Sistān in his own right. His successors were his son Zāl and Zal's son Rostam, the bravest of the brave, and then Farāmarz.

Among the stories described in this section are the romance of Zal and Rudāba, the Seven Stages (or Labors) of Rostam, Rostam and Sohrab, Sīyāvash and Sudāba, Rostam and Akvān Dīv, the romance of Bijan and Manijeh, the wars with Afrāsīyāb, Daqiqi's account of the story of Goshtāsp and Arjāsp, and Rostam and Esfandyār.

Courtiers of Bayasanghori playing chess

Historical age

A brief mention of the Arsacid dynastyfollows the history of Alexander and precedes that of Ardashir I, founder of the Sassanid Empire. After this, Sassanid history is related with a good deal of accuracy. The fall of the Sassanids and the Arab conquest of Persia are narrated romantically.

Message

Ferdowsi did not expect his readers to pass over historical events indifferently, but asked them to think carefully, to see the grounds for the rise and fall of individuals and nations; and to learn from the past in order to improve the present, and to better shape the future. Ferdowsi stresses his belief that since the world is transient, and since everyone is merely a passerby, one is wise to avoid cruelty, lying, avarice, and other evils; instead one should strive for justice, honor, truth, order, and other virtues.

The singular message that the Shahnameh of Ferdowsi strives to convey is the idea that the history of the Sassanid Empire was a complete and immutable whole: it started with Keyumars, the first man, and ended with his fiftieth scion and successor, Yazdegerd III, six thousand years of history of Iran. The task of Ferdowsi was to prevent this history from being lost to future Persian generations.

According to Jalal Khaleghi Mutlaq, the Shahnameh teaches a wide variety of moral virtues, like worship of one God; religious uprightness; patriotism; love of wife, family and children; and helping the poor.[10]

There are themes in the Shahnameh that were viewed with suspicion by the succession of Iranian regimes. During the reign of Mohammad Reza Shah, the epic was largely ignored in favor of the more obtuse, esoteric and dryly intellectual Persian literature.[11] Historians note that the theme of regicide and the incompetence of kings embedded in the epic did not sit well with the Iranian monarchy. Later, there were Muslim figures such as Dr. Ali Shariati, the hero of Islamic reformist youth of the 1970s, who were also antagonistic towards the contents of the Shahnameh since it included verses critical of Islam.[12] These include the line: tofu bar to, ey charkh-i gardun, tofu! (spit on your face, oh heavens spit!), which Ferdowsi used as a reference to the Muslim invaders who despoiled Zoroastrianism.[12]

Influence on Persian language

Rustam kills the Turanian hero Alkus with his lance

After the Shahnameh, a number of other works similar in nature surfaced over the centuries within the cultural sphere of the Persian language. Without exception, all such works were based in style and method on the Shahnameh, but none of them could quite achieve the same degree of fame and popularity.

Some experts believe the main reason the Modern Persian language today is more or less the same language as that of Ferdowsi's time over 1000 years ago is due to the very existence of works like the Shahnameh, which have had lasting and profound cultural and linguistic influence. In other words, the Shahnameh itself has become one of the main pillars of the modern Persian language. Studying Ferdowsi's masterpiece also became a requirement for achieving mastery of the Persian language by subsequent Persian poets, as evidenced by numerous references to the Shahnameh in their works.

It is claimed that Ferdowsi went to great lengths to avoid any words drawn from the Arabic language, words which had increasingly infiltrated the Persian language following the Arab conquest of Persia in the 7th century. Ferdowsi is even quoted:

بسی رنج بردم در این سال سی؛ ‌عجم زنده کردم بدین پارسی	I have struggled much these thirty years in order to keep Persian ajam (meaning non-Arabic, or specifically Iranian).

Ferdowsi followed this path not only to preserve and purify the Persian language, but also as a stark political statement against the Arab conquest of Persia.[13] This assertion has been called into question by Mohammed Moinfar, who has noted that there are numerous examples of Arabic words in the Shahnameh which are effectively synonyms for Persian words previously used in the text. This calls into question the idea of Ferdowsi's deliberate eschewing of Arabic words.[14]

The Shahnameh has 62 stories, 990 chapters, and some 50,000 rhyming couplets, making it more than three times the length of Homer's Iliad, and more than twelve times the length of the German Nibelungenlied. According to Ferdowsi himself, the final edition of the Shahnameh contained some sixty thousand distichs. But this is a round figure; most of the relatively reliable manuscripts have preserved a little over fifty thousand distichs. Nezami-e Aruzi reports that the final edition of the Shahnameh sent to the court of Sultan Mahmud of Ghazni was prepared in seven volumes.

Cultural influence

A battle scene from the Baysonghori Shahnameh

The Shirvanshah dynasty adopted many of their names from the Shahnameh. The relationship between Shirwanshah and his son, Manuchihr, is mentioned in chapter eight of Nizami's Leili o Majnoon. Nizami advises the king's son to read the Shahnameh and to remember the meaningful sayings of the wise.[15]

According to the Turkish historian Mehmet Fuat Köprülü:

Indeed, despite all claims to the contrary, there is no question that Persian influence was paramount among the Seljuks of Anatolia. This is clearly revealed by the fact that the sultans who ascended the throne after Ghiyath al-Din Kai-Khusraw I assumed titles taken from ancient Persian mythology, like Kai Khosrow, Kay Kāvus, and Kai Kobad; and that Ala' al-Din Kai-Qubad I had some passages from the Shahname inscribed on the walls of Konya and Sivas. When we take into consideration domestic life in the Konya courts and the sincerity of the favor and attachment of the rulers to Persian poets and Persian literature, then this fact (i.e. the importance of Persian influence) is undeniable.[16]

Shah Ismail I (d.1524), the founder of the Safavid dynasty of Iran, was also deeply influenced by the Persian literary tradition, particularly by the Shahnameh, which probably explains the fact that he named all of his sons after Shahnameh characters. Dickson and Welch suggest that Ismail's Shāhnāmaye Shāhī was intended as a present to the young Tahmāsp.[17] After defeating Muhammad Shaybāni's Uzbeks, Ismāil asked Hātefī, a famous poet from Jam (Khorasan), to write a Shahnameh-like epic about his victories and his newly established dynasty. Although the epic was left unfinished, it was an example of mathnawis in the heroic style of the Shahnameh written later on for the Safavid kings.[18]

The Shahnameh's influence has extended beyond the Persian sphere. Professor Victoria Arakelova of Yerevan University states:

During the ten centuries passed after Firdausi composed his monumental work, heroic legends and stories of Shahnameh have remained the main source of the storytelling for the peoples of this region: Persians, Pashtuns, Kurds, Gurans, Talishis, Armenians, Georgians, North Caucasian peoples, etc.[19]

On Georgian identity

Georgian manuscript of Shahnameh written in the Georgian script.

Jamshid Sh. Giunashvili remarks on the connection of Georgian culture with that of Shahnameh:

The names of many Šāh-nāma heroes, such as Rostom-i, Thehmine, Sam-i, or Zaal-i, are found in 11th- and 12th-century Georgian literature. They are indirect evidence for an Old Georgian translation of the Šāh-nāma that is no longer extant. ...

The Šāh-nāma was translated, not only to satisfy the literary and aesthetic needs of readers and listeners, but also to inspire the young with the spirit of heroism and Georgian patriotism. Georgian ideology, customs, and worldview often informed these translations because they were oriented toward Georgian poetic culture. Conversely, Georgians consider these translations works of their native literature. Georgian versions of the Šāh-nāma are quite popular, and the stories of Rostam and Sohrāb, or Bījan and Maniža became part of Georgian folklore.[20]

Farmanfarmaian in the Journal of Persianate Studies:

Distinguished scholars of Persian such as Gvakharia and Todua are well aware that the inspiration derived from the Persian classics of the ninth to the twelfth centuries produced a ‘cultural synthesis’ which saw, in the earliest stages of written secular literature in Georgia, the resumption of literary contacts with Iran, “much stronger than before” (Gvakharia, 2001, p. 481). Ferdowsi’s Shahnama was a never-ending source of inspiration, not only for high literature, but for folklore as well. “Almost every page of Georgian literary works and chronicles [...] contains names of Iranian heroes borrowed from the Shahnama” (ibid). Ferdowsi, together with Nezāmi, may have left the most enduring imprint on Georgian literature (...)[21]

On Turkic identity

Despite some popular belief, the Turanians of Shahnameh (whose sources are based on Avesta and Pahlavi texts) have no relationship with the ethno-linguistic group Turk today.[22] The Turanians of Shahnameh are an Iranian people representing Iranian nomads of the Eurasian Steppes and have no relationship to the culture of the Turks.[22] Turan, which is the Persian name for the areas of Central Asia beyond the Oxus up to the 7th century (where the story of the Shahnameh ends), was generally an Iranian-speaking land.[23]

According to Richard Frye, "The extent of influence of the Iranian epic is shown by the Turks who accepted it as their own ancient history as well as that of Iran... The Turks were so much influenced by this cycle of stories that in the eleventh century AD we find the Qarakhanid dynasty in Central Asia calling itself the 'family of Afrasiyab' and so it is known in the Islamic history."[24]

Turks, as an ethno-linguistic group, have been influenced by the Shahnameh since advent of Saljuqs.[25] Toghrul III of Seljuqs is said to have recited the Shahnameh while swinging his mace in battle.[25]According to Ibn Bibi, in 618/1221 the Saljuq of Rum Ala' al-Din Kay-kubaddecorated the walls of Konya and Sivas with verses from the Shahnameh.[26] The Turks themselves connected their origin not with Turkish tribal history but with the Turan of Shahnameh.[27] Specifically in India, through the Shahnameh, they felt themselves to be the last outpost tied to the civilized world by the thread of Iranianism.[27]

Legacy

A battle between the hosts of Iran and Turan during the reign of Kay Khusraw

Ferdowsi concludes the Shahnameh by writing:

I've reached the end of this great history And all the land will talk of me: I shall not die, these seeds I've sown will save My name and reputation from the grave, And men of sense and wisdom will proclaim When I have gone, my praises and my fame.[28]

Another translation of by Reza Jamshidi Safa:

Much I have suffered in these thirty years, I have revived the Ajam with my verse. I will not die then alive in the world, For I have spread the seed of the word. Whoever has sense, path and faith, After my death will send me praise.[29]

This prediction of Ferdowsi has come true and many Persian literary figures, historians and biographers have praised him and the Shahnameh. The Shahnameh is considered by many to be the most important piece of work in Persian literature.

Western writers have also praised the Shahnameh and Persian literature in general. Persian literature has been considered by such thinkers as Goethe as one of the four main bodies of world literature.[30] Goethe was inspired by Persian literature, which moved him to write his West-Eastern Divan. Goethe wrote:

When we turn our attention to a peaceful, civilized people, the Persians, we must—since it was actually their poetry that inspired this work—go back to the earliest period to be able to understand more recent times. It will always seem strange to the historians that no matter how many times a country has been conquered, subjugated and even destroyed by enemies, there is always a certain national core preserved in its character, and before you know it, there re-emerges a long-familiar native phenomenon. In this sense, it would be pleasant to learn about the most ancient Persians and quickly follow them up to the present day at an all the more free and steady pace.[31]

Biographies

Sargozasht-Nameh or biography of important poets and writers has long been a Persian tradition. Some of the biographies of Ferdowsi are now considered apocryphal, nevertheless this shows the important impact he had in the Persian world. Among the famous biographies are:[32]

1. Chahar Maqaleh ("Four Articles") by Nezami 'Arudi-i Samarqandi
2. Tazkeret Al-Shu'ara ("The Biography of poets") by Dowlat Shah-i Samarqandi
3. Baharestan ("Abode of Spring") by Jami
4. Lubab ul-Albab by Mohammad 'Awfi
5. Natayej al-Afkar by Mowlana Muhammad Qudrat Allah
6. Arafat Al-'Ashighin by Taqqi Al-Din 'Awhadi Balyani

Poets

Bizhane receives an invitation through Manizheh's nurse

Famous poets of Persia and the Persian tradition have praised and eulogized Ferdowsi. Many of them were heavily influenced by his writing and used his genre and stories to develop their own Persian epics, stories and poems:[32]

• Anvari remarked about the eloquence of the Shahnameh, "He was not just a Teacher and we his students. He was like a God and we are his slaves".[33]
• Asadi Tusi was born in the same city as Ferdowsi. His Garshaspnama was inspired by the Shahnameh as he attests in the introduction. He praises Ferdowsi in the introduction[34] and considers Ferdowsi the greatest poet of his time.[35]
• Masud Sa'ad Salman showed the influence of the Shahnameh only 80 years after its composition by reciting its poems in the Ghaznavid court of India.
• Othman Mokhtari, another poet at the Ghaznavid court of India, remarked, "Alive is Rustam through the epic of Ferdowsi, else there would not be a trace of him in this World".[36]
• Sanai believed that the foundation of poetry was really established by Ferdowsi.[37]
• Nizami Ganjavi was influenced greatly by Ferdowsi and three of his five "treasures" had to do with pre-Islamic Persia. His Khosro-o-Shirin, Haft Peykar and Eskandar-nameh used the Shahnameh as a major source. Nizami remarks that Ferdowsi is "the wise sage of Tus" who beautified and decorated words like a new bride.[38]
• Khaghani, the court poet of the Shirvanshah, wrote of Ferdowsi:

  "The candle of the wise in this darkness of sorrow,The pure words of Ferdowsi of the Tusi are such,His pure sense is an angelic birth,Angelic born is anyone who's like Ferdowsi."[39]

• Attar wrote about the poetry of Ferdowsi: "Open eyes and through the sweet poetry see the heavenly eden of Ferdowsi."[40]
• In a famous poem, Sa'adi wrote:

  "How sweetly has conveyed the pure-natured Ferdowsi,May blessing be upon his pure resting place,Do not harass the ant that's dragging a seed,because it has life and sweet life is dear."[41]

• In the Baharestan, Jami wrote, "He came from Tus and his excellence, renown and perfection are well known. Yes, what need is there of the panegyrics of others to that man who has composed verses as those of the Shah-nameh?"

Many other poets, e.g. Hafez, Rumi and other mystical poets, have used imageries of Shahnameh heroes in their poetry.

Persian historiography

The Shahnameh's impact on Persian historiography was immediate and some historians decorated their books with the verses of Shahnameh. Below is sample of ten important historians who have praised the Shahnameh and Ferdowsi:[32]

1. The unknown writer of the Tarikh Sistan ("History of Sistan") written around 1053
2. The unknown writer of Majmal al-Tawarikh wa Al-Qasas (c. 1126)
3. Mohammad Ali Ravandi, the writer of the Rahat al-Sodur wa Ayat al-Sorur (c. 1206)
4. Ibn Bibi, the writer of the history book, Al-Awamir al-'Alaiyah, written during the era of 'Ala ad-din KayGhobad
5. Ibn Esfandyar, the writer of the Tarikh-e Tabarestan
6. Muhammad Juwayni, the early historian of the Mongol era in the Tarikh-e Jahan Gushay (Ilkhanid era)
7. Hamdollah Mostowfi Qazwini also paid much attention to the Shahnameh and wrote the Zafarnamah based on the same style in the Ilkhanid era
8. Hafez-e Abru (1430) in the Majma' al-Tawarikh
9. Khwand Mir in the Habab al-Siyar (c. 1523) praised Ferdowsi and gave an extensive biography on Ferdowsi
10. The Arab historian Ibn Athir remarks in his book, Al-Kamil, that, "If we name it the Quran of 'Ajam, we have not said something in vain. If a poet writes poetry and the poems have many verses, or if someone writes many compositions, it will always be the case that some of their writings might not be excellent. But in the case of Shahnameh, despite having more than 40 thousand couplets, all its verses are excellent."[42]

Illustrated copies

An image illustrating the parable of the ship of faith from the Houghton Shahnameh(Metropolitan Museum of Art)

Illustrated copies of the work are among the most sumptuous examples of Persian miniature painting. Several copies remain intact, although two of the most famous, the Houghton Shahnameh and the Great Mongol Shahnameh, were broken up for sheets to be sold separately in the 20th century. A single sheet from the former was sold for £904,000 in 2006.[43] The Baysonghori Shahnameh, an illuminated manuscript copy of the work (Golestan Palace, Iran), is included in UNESCO's Memory of the World Register of cultural heritage items.[44]

The Mongol rulers in Iran revived and spurred the patronage of the Shanameh in its manuscript form.[45][46][47][48][49][50][51][52][53][54][55] The "Great Mongol" or Demotte Shahnameh, produced during the reign of the Ilkhanid Sultan Abu Sa'id, is one of the most illustrative and important copies of the Shahnameh.[56]

The Timurids continued the tradition of manuscript production. For them, it was considered de rigueur for the members of the family to have personal copies of the epic poem.[57] Consequently, three of Timur’s grandsons—Bāysonḡor, Ebrāhim Solṭān, and Moḥammad Juki—each commissioned such a volume.[57] Among these, the Baysonghor Shahnameh commissioned by Ḡīāṯ-al-Dīn Bāysonḡor is one of the most voluminous and artistic Shahnameh manuscripts.[58]

The production of illustrated Shahnameh manuscripts in the 15th century remained vigorous[57] during the Qarā-Qoyunlu or Black Sheep (1380–1468) and Āq Qoyunlu or White Sheep (1378–1508) Turkman dynasties.[57]Many of the extant illustrated copies, with more than seventy or more paintings, are attributable to Tabriz, Shiraz, and Baghdad beginning in about the 1450s–60s and continuing to the end of the century.[57]

The Safavid era saw a resurgence of Shahnameh productions.[57] Shah Ismail I used the epic for propaganda purposes: as a gesture of Persian patriotism, as a celebration of renewed Persian rule, and as a reassertion of Persian royal authority.[57] The Safavids commissioned elaborate copies of the Shahnameh to support their legitimacy.[59][60] Among the high points of Shahnameh illustrations was the series of 250 miniatures commissioned by Shah Ismail for his son's Shahnameh of Shah Tahmasp.[61] Two similar cycles of illustration of the mid-17th century, the Shahnameh of Rashida and the Windsor Shahnameh, come from the last great period of the Persian miniature.

In honour of the Shahnameh's millennial anniversary, in 2010 the Fitzwilliam Museum in Cambridge hosted a major exhibition, called "Epic of the Persian Kings: The Art of Ferdowsi’s Shahnameh", which ran from September 2010 to January 2011.[62] The Arthur M. Sackler Gallery of the Smithsonian Institution in Washington, DC also hosted an exhibition of folios from the 14th through the 16th centuries, called "Shahnama: 1000 Years of the Persian Book of Kings", from October 2010 to April 2011.[63]

In 2013 Hamid Rahmanian illustrated a new English translation of Shanameh (translated by Ahmad Sadri) using images from various pictures of old manuscripts of the book to create new imagery.[64][65]

Modern editions

An illustration from the Shahnameh

Scholarly editions

Scholarly editions have been prepared of the Shahnameh. An early edition was prepared in 1829 in India by T. Macan. It was based on a comparison of 17 manuscript copies. Between 1838 and 1878, an edition appeared in Paris by French scholar J. Mohl, which was based on a comparison of 30 manuscripts. Both editions lacked critical apparatuses and were based on secondary manuscripts dated after the 15th century; much later than the original work. Between 1877 and 1884, the German scholar J. A. Vullers prepared a synthesized text of the Macan and Mohl editions, but only three of its expected nine volumes were published. The Vullers edition was later completed in Tehran by the Iranian scholars S. Nafisi, Iqbal, and M. Minowi for the millennial jubilee of Ferdowsi, held between 1934 and 1936.

The first modern critical edition of the Shahnameh was prepared by a Russian team led by E. E. Bertels, using the oldest known manuscripts at the time, dating from the 13th and 14th centuries, with heavy reliance on the 1276 manuscript from the British Museum and the 1333 Leningrad manuscript, the latter of which has now been considered a secondary manuscript. In addition, two other manuscripts used in this edition have been so demoted. It was published in Moscow by the Institute of Oriental Studies of the Academy of Sciences of the USSR in nine volumes between 1960 and 1971.[66]

For many years, the Moscow edition was the standard text. In 1977, an early 1217 manuscript was rediscovered in Florence. The 1217 Florence manuscript is one of the earliest known copies of the Shahnameh, predating the Moghul invasion and the following destruction of important libraries and manuscript collections. Using it as the chief text, Djalal Khaleghi-Motlagh began the preparation of a new critical edition in 1990. The number of manuscripts that were consulted during the preparation of Khaleghi-Motlagh edition goes beyond anything attempted by the Moscow team. The critical apparatus is extensive and a large number of variants for many parts of the poem were recorded. The last volume was published in 2008, bringing the eight-volume enterprise to a completion. According to Dick Davis, professor of Persian at Ohio State University, it is "by far the best edition of the Shahnameh available, and it is surely likely to remain such for a very long time".[67]

Arabic translation

The only known Arabic translation of the Shahnameh was done in c. 1220 by al-Fath bin Ali al-Bondari, a Persian scholar from Isfahan and at the request of the Ayyubid ruler of Damascus Al-Mu'azzam Isa. The translation is Nathr (unrhyming) and was largely forgotten until it was republished in full in 1932 in Egypt, by historian Abdelwahhab Azzam. This modern edition was based on incomplete and largely imprecise fragmented copies found in Cambridge, Paris, Astana, Cairo and Berlin. The latter had the most complete, least inaccurate and well-preserved Arabic version of the original translation by al-Bondari.

English translations

There have been a number of English translations, almost all abridged. James Atkinson of the East India Company's medical service undertook a translation into English in his 1832 publication for the Oriental Translation Fund of Great Britain and Ireland, now part of the Royal Asiatic Society. Between 1905 and 1925, the brothers Arthur and Edmond Warner published a translation of the complete work in nine volumes, now out of print. There are also modern incomplete translations of the Shahnameh: Reuben Levy's 1967 prose version (later revised by Amin Banani), and another by Dick Davis in a mixture of poetry and prose which appeared in 2006.[68] Also a new English translation of the book in prose by Ahmad Sadri was published in 2013.[69]

The Parsis, Zoroastrians, whose ancestors had migrated to India in the 8th or 10th century so they could continue practice of their religion in peace, have also kept the Shahnameh traditions alive. Dr. Bahman Sohrabji Surti, assisted by Marzban Giara, published between 1986 and 1988 the first detailed and complete translation of the Shahnameh from the original Persian verse into English prose, in seven volumes.

Gujarati translation

Dastur Faramroz Kutar and his brother Ervad Mahiyar Kutar translated the Shahnameh into Gujarati verse and prose and published 10 volumes between 1914 and 1918.

Spanish translation

A Spanish translation has been published in 2 volumes by the Islamic Research Institute of the Tehran Branch of McGill University.

In culture

The Shahnameh, especially the legend of Rostam and Sohrab, is cited and plays an important role in the novel The Kite Runner by Afghan-American writer Khaled Hosseini.

Shahnameh has also been adapted to many films and animations:

• In a 1971–1976, Tajikfilm trilogy comprising Skazanie o Rustame[1], Rustam i Sukhrab[2] and Skazanie o Sijavushe[3].
• Bangladesh has made a blockbuster film, Shourab Rustom, in 1993.
• A Bollywood film, Rustom Sohrab [4], based on the story of Rustam and Sohrab, was made in 1963 and starred Prithviraj Kapoor.
• Persian TV series Chehel Sarbaz (Forty Soldiers), released on 2007, directed by Mohammad Nourizad, concurrently tells the story of Rostam and Esfandiar, biography of Ferdowsi, and a few other historical events.[70]
• Persian short animation Zal & Simorgh, 1977, directed by Ali Akbar Sadeghi, narrates the story of Zal from birth until returning to the human society.
• The Legend of Mardoush (2005), a long animated Persian trilogy, tells the mythical stories of Shahnameh from the kingdom of Jamshid to the victory of Fereydun over Zahhak.
• The Last Fiction (2017), a long animated movie, has an open interpretation of the story of Zahhak.[71] The movie is preceded by the graphic novels Jamshid Dawn 1 & 2 (created by the same team) whose aim is to familiarize adolescents and youth with the myth of Jamshid.

See also

• List of Shahnameh characters
• Rostam and Sohrab, an opera by Loris Tjeknavorian
• Sohrab and Rustum, an 1853 poem by Matthew Arnold
• Naqqāli, a performing art based on Shahnameh
• Vis and Rāmin, an epic poem similar to the Shahnameh
• Shahrokh Meskoob
• Mir Jalaleddin Kazzazi

References

1. Lalani, Farah (13 May 2010). "A thousand years of Firdawsi's Shahnama is celebrated". The Ismaili. Retrieved 24 May 2010.
2. Ashraf, Ahmad (30 March 2012). "Iranian Identity iii. Medieval Islamic Period". Encyclopædia Iranica. Retrieved April 2010.
3. Khaleghi-Motlagh, Djalal (26 January 2012). "Ferdowsi, Abu'l Qāsem i. Life". Encyclopædia Iranica. Retrieved 27 May 2012. the poet refers... to the date of the Šāh-nāma’s completion as the day of Ard (i.e., 25th) of Esfand in the year 378 Š. (400 Lunar)/8 March 1010
4. Zaehner, Robert Charles (1955). Zurvan: a Zoroastrian Dilemma. Biblo and Tannen. p. 10. ISBN 0819602809.
5. "A possible predecessor to the Khvatay-Namak could be the Chihrdad, one of the destroyed books of the Avesta (known to us because of its listing and description in the Middle Persian Zoroastrian text, the Dinkard 8.13)." K.E. Eduljee, Zoroastrian Heritage, "Ferdowsi's Shahnameh," http://www.heritageinstitute.com/zoroastrianism/shahnameh/
6. Safa, Zabihollah (2000). Hamase-sarâ’i dar Iran, Tehran 1945.
7. Shahbazi, A. Shapur (1991). Ferdowsī: A Critical Biography. Costa Mesa, Calif.: Mazda Publishers. p. 49. ISBN 0939214830.
8. Khatibi, Abolfazl (1384/2005). Anti-Arab verses in the Shahnameh. 21, 3, Autumn 1384/2005: Nashr Danesh.
9. Katouzian, Homa (2013). Iran: Politics, History and Literature. Oxon: Routledge. p. 138. ISBN 9780415636896.
10. Mutlaq, Jalal Khaleqi (1993). "Iran Garai dar Shahnameh" [Iran-centrism in the Shahnameh]. Hasti Magazine. Tehran: Bahman Publishers. 4.
11. Ansari, Ali (2012). The Politics of Nationalism in Modern Iran. Cambridge: Cambridge University Press. p. 193. ISBN 9780521867627.
12. Fischer, Michael (2004). Mute Dreams, Blind Owls, and Dispersed Knowledges: Persian Poesis in the Transnational Circuitry. Durham: Duke University Press. p. 21. ISBN 9780822385516.
13. "Ferdowsi's "Shahnameh": The Book of Kings". The Economist. 16 September 2010.
14. Perry, John (23 June 2010). "Šāh-nāma v. Arabic Words". Encyclopædia Iranica. Retrieved 28 May 2012.
15. Seyed-Gohrab, Ali Ashgar (2003). Laylī and Majnūn: Love, Madness and Mystic Longing in Niẓāmī's Epic Romance. Leiden: Brill. p. 276. ISBN 9004129421.
16. Köprülü, Mehmed Fuad (2006). Early Mystics in Turkish Literature. Translated by Gary Leiser and Robert Dankoff. London: Routledge. p. 149. ISBN 0415366860.
17. Dickson, M.B.; and Welch, S.C. (1981). The Houghton Shahnameh. Volume I. Cambridge, MA and London. p. 34.
18. Savory, R. M. "Safavids". Encyclopaedia of Islam (2nd ed.).
19. Arakelova, Victoria. "Shahnameh in the Kurdish and Armenian Oral Tradition (abridged)" (PDF). Retrieved 28 May 2012.
20. Giunshvili, Jamshid Sh. (15 June 2005). "Šāh-nāma Translations ii. Into Georgian". Encyclopædia Iranica. Retrieved 28 May 2012.
21. Farmanfarmaian 2009, p. 24.
22. Bosworth, C.E. "Barbarian Incursions: The Coming of the Turks into the Islamic World". In Islamic Civilization, ed. D.S. Richards. Oxford, 1973. p. 2. "Firdawsi's Turan are, of course, really Indo-European nomads of Eurasian Steppes... Hence as Kowalski has pointed out, a Turkologist seeking for information in the Shahnama on the primitive culture of the Turks would definitely be disappointed. "
23. Bosworth, C.E. "The Appearance of the Arabs in Central Asia under the Umayyads and the Establishment of Islam". In History of Civilizations of Central Asia, Vol. IV: The Age of Achievement: AD 750 to the End of the Fifteenth Century, Part One: The Historical, Social and Economic Setting, ed. M.S. Asimov and C.E. Bosworth. Multiple History Series. Paris: Motilal Banarsidass Publ./UNESCO Publishing, 1999. p. 23. "Central Asia in the early seventh century, was ethnically, still largely an Iranian land whose people used various Middle Iranian languages."
24. Frye, Richard N. (1963). The Heritage of Persia: The Pre-Islamic History of One of the World's Great Civilizations. New York: World Publishing Company. pp. 40–41.
25. Özgüdenli, Osman G. (15 November 2006). "Šāh-nāma Translations i. Into Turkish". Encyclopædia Iranica.
26. Blair, Sheila S. (1992). The Monumental Inscriptions from Early Islamic Iran and Transoxiana. Leiden: E. J. Brill. p. 11. ISBN 9004093672. According to Ibn Bibi, in 618/1221 the Saljuq of Rum Ala' al-Din Kay-kubad decorated the walls of Konya and Sivas with verses from the Shah-nama
27. Schimmel, Annemarie. "Turk and Hindu: A Poetical Image and Its Application to Historical Fact". In Islam and Cultural Change in the Middle Ages, ed. Speros Vryonis, Jr. Undena Publications, 1975. pp. 107–26. "In fact as much as early rulers felt themselves to be Turks, they connected their Turkish origin not with Turkish tribal history but rather with the Turan of Shahnameh: in the second generation their children bear the name of Firdosi’s heroes, and their Turkish lineage is invariably traced back to Afrasiyab—whether we read Barani in the fourteenth century or the Urdu master poet Ghalib in the nineteenth century. The poets, and through them probably most of the educated class, felt themselves to be the last outpost tied to the civilized world by the thread of Iranianism. The imagery of poetry remained exclusively Persian. "
28. Ferdowsi (2006). Shahnameh: The Persian Book of Kings. Translated by Dick Davis. New York: Viking. ISBN 0670034851.
29. Ferdowsi's poet, (2010). Shahnameh: The Persian Book of Kings. Translated by Reza Jamshidi Safa. Tehran, Iran.
30. Christensen, Karen; Levinson, David, eds. (2002). Encyclopedia of Modern Asia. New York: Charles Scribner's Sons. p. 48. ISBN 0684806177.
31. Azodi, Wiesehöfer (August 18, 2001). Ancient Persia: From 550 BC to 650 AD (New ed.). London: I. B. Tauris. p. Introduction. ISBN 1860646751.
32. Nurian, Mahdi (1993). "Afarin Ferdowsi az Zaban Pishinian" [Praises of Ferdowsi from the Tongue of the Ancients]. Hasti Magazine. Tehran: Bahman Publishers. 4.
33. Persian: "آفرين بر روان فردوسی / آن همايون نهاد و فرخنده / او نه استاد بود و ما شاگرد / او خداوند بود و ما بنده"
34. Persian: "که فردوسی طوسی پاک مغز / بدادست داد سخنهای نغز / به شهنامه گیتی بیاراستست / بدان نامه نام نکو خواستست"
35. Persian: "که از پیش گویندگان برد گوی"
36. Persian: "زنده رستم به شعر فردوسی است / ور نه زو در جهان نشانه کجاست؟"
37. Persian: "چه نکو گفت آن بزرگ استاد / که وی افکند نظم را بنیاد"
38. Persian: "سخن گوی دانای پیشین طوسکه آراست روی سخن چون عروس"
39. Persian: "شمع جمع هوشمندان است در دیجور غم / نکته ای کز خاطر فردوسی طوسی بود / زادگاه طبع پاکش جملگی حوراوش اند / زاده حوراوش بود چون مرد فردوسی بود"
40. Persian: "باز کن چشم و ز شعر چون شکر / در بهشت عدن فردوسی نگر"
41. Persian: "چه خوش گفت فردوسی پاکزاد / که رحمت بر آن تربت پاک باد / میازار موری که دانه کش است / که جان دارد و جان شیرین خوش است"
42. "Archived copy". Archived from the original on 2007-09-28. Retrieved 2007-08-25.
43. "Ten Most Expensive Books of 2006". Fine Books & Collections.
44. ""Bayasanghori Shâhnâmeh" (Prince Bayasanghor's Book of the Kings)". UNESCO. Retrieved 28 May 2012.
45. Lawrence, Lee (Dec 6, 2013). "Politics and the Persian Language". The Wall Street Journal. Archived from the original on Dec 8, 2013.
46. Simpson, Marianna Shreve (April 21, 2009). "ŠĀH-NĀMA iv. Illustrations". iranicaonline.org. Encyclopædia Iranica.
47. Eduljee, K. E. "Ferdowsi Shahnameh Manuscripts". www.heritageinstitute.com. Retrieved 22 August 2016.
48. Michael Burgan (2009). Empire of the Mongols. Infobase Publishing. pp. 129–. ISBN 978-1-60413-163-5.
49. Sarah Foot; Chase F. Robinson (25 October 2012). The Oxford History of Historical Writing: Volume 2: 400-1400. OUP Oxford. pp. 271–. ISBN 978-0-19-163693-6.
50. Adamjee, Authors: Stefano Carboni, Qamar. "The Art of the Book in the Ilkhanid Period - Essay - Heilbrunn Timeline of Art History - The Metropolitan Museum of Art". The Met’s Heilbrunn Timeline of Art History.
51. Komaroff, Authors: Suzan Yalman, Linda. "The Art of the Ilkhanid Period (1256–1353) - Essay - Heilbrunn Timeline of Art History - The Metropolitan Museum of Art". The Met’s Heilbrunn Timeline of Art History.
52. Vladimir Lukonin; Anatoly Ivanov (30 June 2012). Persian Art. Parkstone International. pp. 65–. ISBN 978-1-78042-893-2.
53. "Bahram Gur in a Peasant's House, Ilkhanid Dynasty". Khan Academy.
54. "Leaf from the Shahnama (Book of Kings) « Islamic Arts and Architecture".
55. "Style in Islamic Art (1250 - 1500 A.D) « Islamic Arts and Architecture".
56. Blair, Sheila S. "Rewriting the History of the Great Mongol Shahnama". In Shahnama: The Visual Language of the Persian Book of Kings, ed. Robert Hillenbrand. Ashgate Publishing, Ltd., 2004. p. 35. ISBN 0754633675.
57. Simpson, Marianna Shreve Simpson (7 May 2012). "Šāh-nāma iv. Illustrations". Encyclopædia Iranica.
58. Motlagh, Khaleghi; T. Lentz (15 December 1989). "Bāysonḡorī Šāh-nāma". Encyclopædia Iranica.
59. John L. Esposito, ed. (1999). The Oxford History of Islam. New York: Oxford University Press. p. 364. ISBN 0195107993. To support their legitimacy, the Safavid dynasty of Iran (1501–1732) devoted a cultural policy to establish their regime as the reconstruction of the historic Iranian monarchy. To the end, they commissioned elaborate copies of the Shahnameh, the Iranian national epic, such as this one made for Tahmasp in the 1520s.
60. Lapidus, Ira Marvin (2002). A History of Islamic Societies (2nd ed.). Cambridge: Cambridge University Press. p. 445. ISBN 0521779332. To bolster the prestige of the state, the Safavid dynasty sponsored an Iran-Islamic style of culture concentrating on court poetry, painting, and monumental architecture that symbolized not only the Islamic credentials of the state but also the glory of the ancient Persian traditions.
61. Ahmed, Akbar S. (2002). Discovering Islam: Making Sense of Muslim History and Society (2nd ed.). London: Psychology Press. p. 70. ISBN 0415285259. Perhaps the high point was the series of 250 miniatures which illustrated the Shah Nama commissioned by Shah Ismail for his son Tahmasp.
62. "Exhibition: Epic of the Persian Kings: The Art of Ferdowsi's Shahnameh". The Fitzwilliam Museum. Archived from the original on 11 April 2012. Retrieved 29 May 2012.
63. "Shahnama: 1000 Years of the Persian Book of Kings". Freer and Sackler Galleries. Retrieved 29 May 2012.
64. Fassihi, Farnaz (4: 58 pm ET May 23, 2013). "Shahnameh, a Persian Masterpiece, Still Relevant Today". The Wall Street Journal. IRAN.
65. "Shahnameh : The Epic of the Persian Kings by Sheila Canby, Ahmad Sadri and Abolqasem Ferdowsi (2013, Hardcover) - eBay". www.ebay.com.
66. Osmanov, M. N. O. "Ferdowsi, Abul Qasim". TheFreeDictionary.com. Retrieved 11 September 2010.
67. Davis, Dick (Aug 1995). "Review: The Shahnameh by Abul-Qasem Ferdowsi, Djalal Khaleghi-Motlagh". International Journal of Middle East Studies. Cambridge University Press. 27 (3): 393–395. JSTOR 176284.
68. Loloi, Parvin (2014). "Šāh-Nāma Translations iii. Into English". Encyclopedia Iranica. Retrieved 8 October 2015.
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Sources

• Farmanfarmaian, Fatema Soudavar (2009). Arjomand, Saïd Amir, ed. "Georgia and Iran: Three Millennia of Cultural Relations An Overview". Journal of Persianate Studies. BRILL. 2 (1). doi:10.1163/187471609X445464.

Further reading

• Poet Moniruddin Yusuf (1919–1987) translated the full version of Shahnameh into the Bengali Language (1963–1981). It was published by the National Organisation of Bangladesh Bangla Academy, in six volumes, in February 1991.
• Borjian, Habib and Maryam Borjian. 2005–2006. The Story of Rostam and the White Demon in Māzandarāni. Nāme-ye Irān-e Bāstān 5/1-2 (ser. nos. 9 & 10), pp. 107–116.
• Shirzad Aghaee, Imazh-ha-ye mehr va mah dar Shahnama-ye Ferdousi (Sun and Moon in the Shahnama of Ferdousi, Spånga, Sweden, 1997. (ISBN 91-630-5369-1)
• Shirzad Aghaee, Nam-e kasan va ja'i-ha dar Shahnama-ye Ferdousi (Personalities and Places in the Shahnama of Ferdousi, Nyköping, Sweden, 1993. (ISBN 91-630-1959-0)
• Eleanor Sims. 1992. The Illustrated Manuscripts of Firdausī's "shāhnāma" Commissioned by Princes of the House of Tīmūr. Ars Orientalis 22. The Smithsonian Institution: 43–68. https://www.jstor.org/stable/4629424.

Persian text

• A. E. Bertels (editor), Shax-nāme: Kriticheskij Tekst, nine volumes (Moscow: Izdatel'stvo Nauka, 1960–71) (scholarly Persian text)
• Jalal Khāleghi Motlagh (editor), The Shahnameh, in 12 volumes consisting of eight volumes of text and four volumes of explanatory notes. (Bibliotheca Persica, 1988–2009) (scholarly Persian text). See: Center for Iranian Studies, Columbia University.

Adaptations

Modern English graphic novels:

• Rostam: Tales from the Shahnameh, Hyperwerks, 2005, ISBN 0-9770213-1-9, about the story of Rostam & Sohrab.
• Rostam: Return of the King, Hyperwerks, 2007, ISBN 0-9770213-2-7, about the story of Kai-Kavous and Soodabeh.
• Rostam: Battle with The Deevs, Hyperwerks, 2008, ISBN 978-0-9770213-3-8, the story of the evil White Deev.
• Rostam: Search for the King, Hyperwerks, 2010, ISBN 978-0-9770213-4-5, the story of Rostam's childhood.

External links

Wikimedia Commons has media related to Shahnameh.

Persian Wikisource has original text related to this article: شاهنامه

Wikisource has original text related to this article: Shah Nameh

• Iraj Bashiri, Characters of Ferdowsi's Shahnameh, Iran Chamber Society, 2003.
• Encyclopædia Iranica entry on Baysonghori Shahnameh
• Pages from the Illustrated Manuscript of the Shahnama at the Brooklyn Museum
• Folios from the Great Mongol Shahnama at the Metropolitan Museum of Art
• The Shahnameh Project, Cambridge University (includes large database of miniatures)
• Ancient Iran’s Geographical Position in Shah-Nameh
• A richly illuminated and almost complete copy of the Shahnamah in Cambridge Digital Library

English translations by

• Helen Zimmern, 1883, Iran Chamber Society, MIT
• Arthur and Edmond Warner, 1905–1925, (in nine volumes) at the Internet Archive: 1, 2, 3, 4, 5, 6, 7, 8, 9
• A king's book of kings: the Shah-nameh of Shah Tahmasp, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF)
• Firdowsi & the Shahname | Kaveh Farrokh
• Text of the Shahnameh in Persian, section by section