Desmond John Morris (born 24 January 1928) is an English zoologist, ethologist and surrealist painter, as well as a popular author in human sociobiology. He is known for his 1967 book The Naked Ape, and for his television programmes such as Zoo Time.
Desmond Morris on The Naked Eye at Edinburgh International Book Festival 15th August 2000
Ravi Bali
The latest book from Desmond Morris, The Naked Eye: Travels in Search of the Human Species, is part autobiography, part travelogue and part presentation on aspects of his theory.
A charming man, Morris spent most of the hour relating anecdotes from his travels around the world, including memories of his friends Anthony Burgess and David Attenborough. The stories amused the audience and raised a few laughs. One aspect of what he said relating to his theories interested me particularly. When he started out using zoological techniques to observe human beings, many people were critical of his trying to understand humans in the same terms as other animals. His first bestselling book, The Naked Ape, was written with the belief that precisely by applying these methods to human behaviour we could gain some interesting insights into ourselves.
One audience member asked Morris whether he thought the initial outrage that he should insult humanity by treating them as animals has today been reversed, so that we are now seen as inferior to beasts. He agreed that there had been a disenchantment with humanity so that any comparison with the rest of nature emphasises our destructiveness while downplaying our creative acheivements and potential. He misunderstood the tone of the question, to say he did agree and would like to think that he had played some small part in undermining man's arrogance towards the rest of the animal kingdom.
He spoke very positively of the emergence of ecology, whilst going on to say he was very optimistic about man's tremendous ingenuity to work out ways to minimise our impact on the planet. This is a positive vision in form only, because underneath it lies the assumption shared with enviromentalists that humans are not special except inasmuch as they create problems for everything else around us. He may be positive about our capabilities, but Morris is still no humanist; that would require a human-centred approach that sets us above mere beasts. It was interesting to see that the question posed by The Institute of Ideas debate, What is it to be Human?, emerging as a theme, if only by implication, in other Edinburgh International Book Festival talks.
2009/11/20 Internationally bestselling author and world-famous human behaviorist Desmond Morris turns his attention to the female form, taking the reader on a guided tour of the female body from head to toe. Highlighting the evolutionary functions of various physiological traits, Morris's study explores the various forms of enhancement and constraint that human societies have developed in the quest for the perfect female form. This is very much vintage Desmond Morris, delivered in his trademark voice: direct, clear, focused, and communicating what is often complex detail in simple language. In THE NAKED WOMAN, Desmond builds on his unrivalled experience as an observer of the human animal while tackling one of his most fascinating and challenging subjects to date.
- [ 翻譯此頁 ]From the hair down to the feet, Morris contrasts woman's anatomy to man's, ... 5.0 out of 5 stars The Naked Woman review. For me as a Photography, ...
這本書可以學許多英文單字 譬如說WORD HISTORY In classical legend the Amazons were a tribe of warrior women. Their name is supposedly derived from Greeka-mazos,"without a breast," because according to the legend they cut off their right breasts so as to be better able to shoot with a bow and arrow.
由 Desmond Morris 著作 - 2007 - 324 頁翻譯者也有許多疏忽 譬如說 不知道The Daily Mirror is a British tabloid newspaper founded in 1903. 而將Daily Mirror Beauty Book 翻譯成不知所云的
《裸猿》(The Naked Ape: A Zoologist's Study of the Human Animal;ISBN 0-385-33430-3)是英國科學家德斯蒙德·莫利斯(Desmond Morris)在1967年所寫的一本探討人類行為的科學著作。在書裡,他把人類當作一種物種,亦即「裸猿」來看待。透過把「裸猿」與其他品種的動物比較,來討論人類的種種行為。本書認為:人類的大多數獨特行為都是因為生活所需而演化出來的,為要應付狩獵收集者(參看先天與後天)生活的挑戰。
🎉Three new clothbound classics, beautifully designed by Coralie Bickford-Smith, are now available! 🎉 DON QUIXOTE by Miguel de Cervantes, THE RING OF NIBELUNG by Richard Wagner and CRIME AND PUNISHMENT by Fyodor Dostoyevsky are ready to join your shelf.
The River (French: Le Fleuve) is a 1951 film directed by Jean Renoir. It was filmed in India. It is a coming of age film.
A fairly faithful dramatization of an earlier literary work of the same name (The River, authored by Rumer Godden), the movie attests to a teenager's coming of age and first love, and how her heart is broken when the man she falls in love with is smitten with her best friend instead.
The Crime of Monsieur Lange (pronounced [mə.sjø lɑ̃ʒ]; French: Le Crime de Monsieur Lange) is a 1936 film directed by Jean Renoir about a publishing cooperative. An idyllic picture of a socialist France, the film is part social commentary and part romance.
Imbued with the spirit of the left-wing political movement, the Popular Front, which would have a major political victory that year, the film chronicles the story of M. Lange (René Lefèvre), a mild-mannered clerk at a publishing company who dreams of writing Western stories. He gets his chance when Batala (Jules Berry), the salacious head of the company, fakes his own death and the abandoned workers decide to form a cooperative. They have great success with Lange's stories about the cowboy, Arizona Jim — whose stories parallel the real-life experiences of the cooperative. At the same time, Lange and his neighbor, Valentine (Florelle), fall in love.
When Batala returns from the "dead", intending to reclaim the publishing company, Lange shoots and kills him (the "crime" of the title). Lange and Valentine flee to escape the country, stopping at an inn near the Belgian border. Here, Valentine tells Lange's story to a group of the inn's patrons, who had recognized Lange as the "murderer on the run" and threatened to turn him in to the police. After the story is through, the men sympathize with Lange and decide to allow him to escape across the border to freedom.
1973: Du cinématographe (posthumous). Entretiens sur le cinématographe (posthumous) https://en.wikipedia.org/wiki/Jean_Cocteau#Film 讓.柯克托Jean Cocteau《關於電影》Du cinématographe
Denis Diderot was a French philosopher and writer, perhaps best known as the chief editor of the Encyclopédie (1751–72), a work of fundamental importance in shaping the rationalist and humanitarian ideals of the Age of Enlightenment. He was a highly versatile author, his vast output including novels, plays, scientific writings, and criticism.
Philosopher, art critic, and writer Denis Diderot was born in Langres, Champagne, France on this day in 1713.
Their thinking was radical, but expressing it was dangerous. Diderot—who was born on October 5th 1713—was imprisoned for his writings, an experience that left him too scared to lay out his philosophy plainly, instead disguising it within plays, novels and letters
Eheu! - Great Roman poet #Virgil - author of three of the most famous poems in Latin literature (the Eclogues, the Georgics, and the epic Aeneid) - died #onthisday 19BC. Thought we'd mark his passing with a quick browse through some of the 82 works we have on our Virgil shelves.
Join us TODAY at 3pm at the Co-op to sing of arms and the man--David Ferry will discuss his new translation of "The Aeneid" with Rosanna Warren!
to sing of arms and the man
www.youtube.com In English, the line translates as "I sing of arms and the man." In Vergil, "the man" is, of course, Aeneas, and "arms" refers to the Trojan War & Aeneas' journey from Greece. ... The title is an allusion to the first line of Vergil's Aeneid. In English, the line translates as "I sing of arms and the man." What does "arms and the man" mean? | eNotes
狄德罗Denis Diderot 認 為: The Aeneid (əˈniːɪd; in Latin Aeneis, pronounced ... Aeneidos is a Latin epic poem written by Virgil in the late 1st century BC (29 ...)最美的一句是:卷一 第462行。(兩處翻譯卻天差地別啦!2014年10.6決定抄出,送港民.....)
Jenny Uglow on the artist E.H. Shepard, famous for his illustrations of Winnie-the-Pooh and The Wind in the Willows, and his lesser-known work, sketches from the trenches of World War I
I had pigeonholed E.H. Shepard as the genius who illustrated Winnie-the-Pooh and The Wind in the Willows. Yet in an intriguing exhibition at the House of Illustration, London, Shepard’s sketches show the mud and…
林恩魁醫師從小到大,從年輕到年老,一路走來始終如一的是堅持他熱愛台灣的信念與意志,而且學識淵博,喜作詩詞,古云:「上醫醫國」,以他的洞見和實踐,成為醫治台灣國家心靈的醫師。七年間在綠島「留學」也當「醫師」,受盡苦楚,還有家人的思念與熱淚交織,譜成西諺:「No cross, No crown」(沒有十字架,也就沒有冠冕),他學像耶穌戴上荊棘的冠冕,卻使台灣的苦難,成為再生的力量。
At Wimpole Street Browning spent most of her time in her upstairs room. Her health began to improve, though she saw few people other than her immediate family.[3] One of those she did see was Kenyon, a wealthy friend of the family and patron of the arts. She received comfort from her spaniel named Flush, a gift from Mary Mitford.[16] (Virginia Woolf later fictionalised the life of the dog, making him the protagonist of her 1933 novel Flush: A Biography).
SAWREY GILPIN, ENGLISH SPRINGER SPANIEL ON A CUSHION, 1807
In her 1911 opus Toy Dogs and Their Ancestors, Judith Blunt-Lytton, sixteenth baroness of Wentworth, great-granddaughter of Lord Byron, wrote, “It has cost me years of research both in the British Museum and in the picture galleries of Europe to disentangle the truth from the cocoon of falsehood into which it was spun.” What Blunt-Lytton sought to recuperate from the cobwebs of history was the lapdog’s true form. Blunt-Lytton contended that many breeds had recently strayed from their roots, in large part due to the Victorian proliferation of “dog fancying”: a British term that evokes, at once, a group of people who like dogs and a group people who fluff up dogs’ fur and tie ribbons around their necks. Of the spaniel, Blunt-Lytton asserts that the contemporary model “was introduced comparatively recently, certainly no earlier than the year 1840,” and compiles visual evidence of its transformation. The spaniel in Titian’s Venus of Urbino is technically correct, as are eighteenth-century pooches painted by George Stubbs; for comparison, her book contains a mug shot of a puppy described as “noseless atrocity, bred by author,” while another dog’s portrait is captioned: “noseless toy spaniel, with wrongly carried ears and bad expression.”
Twenty-two years later, Virginia Woolf published Flush, a biography of Elizabeth Barrett Browning’s cocker spaniel, and immediately regretted it. She began work on the book after the draining effort of The Waves. As she read the love letters of Elizabeth Barrett and Robert Browning, she was amused by Barrett Browning’s mischievous, cosseted little dog and set out to write its biography. It was easy work at first, miserable by the end (she called the book “that abominable dog Flush”). On the eve of the book’s publication, Woolf felt resignation rather than pride. She wrote in her diary: “I open this to make one of my self-admonishments previous to publishing a book. Flushwill be out on Thursday and I shall be very much depressed, I think, by the kind of praise. They’ll say it’s ‘charming,’ delicate, ladylike … I must not let myself believe that I’m simply a ladylike prattler.” In her letters, she dismissed the whole thing as an embarrassing joke. But after her friend Sibyl Colefax praised the book, Woolf confided: “I’m so glad that you liked Flush. I think it shows great discrimination in you because it was all a matter of hints and shades, and practically no one has seen what I was after.”
In Woolf’s Flush,the young dog travels from the hamlet of Three Mile Cross to Wimpole Street in London, trading grass and flowering shrubs for the gloom of Elizabeth Barrett’s back bedroom in her father’s home. It is the room of an unmarried, bookish invalid, redolent of cologne, cluttered with gleaming marble busts, the window shaded by a blind painted with the image of “several peasants taking a walk.” As Elizabeth and Robert Browning elope, Flush travels to Pisa and Florence. He is kidnapped once, ransomed, and has his liver-colored coat trimmed off after a bout of mange. He is skeptical of spiritualism. He dies, peacefully, in Casa Guidi, the Brownings’ home in Italy.
Woolf’s spaniel is a product of history. The breed first appeared in Wales in the tenth century, a hunting dog imported from Spain, then transformed into its Victorian-era Kennel Club regulation—correct “points,” Woolf writes, include dark eyes “full but not gozzled,” straight ears, and a round skull shape. A light nose was an irrevocable flaw. Flush is an exemplary specimen, a realization he makes soon after arriving in London and apprehending that there are higher- and lower-class dogs:
Which, then, was he? No sooner had Flush got home than he examined himself carefully in the looking-glass. Heaven be praised, he was a dog of birth and breeding! … He noted with approval the purple jar from which he drank—such are the privileges of rank; he bent his head quietly to have the chain fixed to his collar—such are its penalties.
So he’s foppish. But only in London, in his adolescence. When his silky coat—the proof of his rank—is sheared, near the end of his life in Florence, Flush is freest. After the haircut is complete, he stares at himself in the mirror and discovers that he’s disfigured, deprived of his identity. He’s no longer a technically perfect cocker spaniel. But a perverse glee comes over him, and he shimmies the clownish ruff of his remaining fur. “To be nothing—is that not, after all, the most satisfactory state in the world? … To caricature the pomposity of those who claim that they are something—was that not in its way a career?” And that’s how Flush becomes a modernist: liberated from history by a goofy haircut, he wanders the hot ocher streets of Florence, a dog of the crowd.
*
Although the British have kept pet dogs since the middle ages, it was primarily the provenance of courtiers. Pet owners were caricatured as sentimental oddballs. During the Victorian era, the practice was adopted by the middle class, and “dog fancy” became widespread. Dogs expressed their owners’ taste; to paraphrase one breeder, no one who was anyone could afford to be followed around by a mutt. It was fashionable in part for its orthodoxy, which proved a bit impossible to maintain as kennel clubs handed down competing standards with Delphic authority. In The Animal Estate, historian Harriet Ritvo writes, “The juxtaposition of arbitrarily established criteria … with swiftly changing fashions not only in favorite breeds but in preferred types within those breeds symbolized a society where status could reflect individual accomplishments and was, as a result, evanescent, lacking in foundation, and in constant need of reaffirmation.”
Elizabeth Barrett Browning was born into a wealthy family whose ancestors owned sugar plantations in Jamaica, though she herself was an abolitionist. She began to suffer from chronic illness at the age of fifteen, and by the time Flush came into her life, she was in her midthirties and her illness, likely exacerbated by opiate painkillers, and her grief over the death of her two brothers had driven her into reclusion. After Robert Browning wrote a fan letter praising her popular 1844 Poems, she began a secret courtship with him, and they eloped two years later, when she was forty.
Barrett Browning addressed two works to her spaniel: “Flush or Faunus,” a sonnet comparing her pet to the “goatly god” as he leaps into her lap, and “To Flush, My Dog,” a tongue-in-cheek benedictory ode. She praises his beauty, his golden coat, and feet “canopied in fringes,” but concedes that there are other perfect spaniels with the same unimpeachable qualities. To praise Flush in particular, she writes:
Other dogs in thymy dew Tracked the hares and followed through Sunny moor or meadow — This dog only, crept and crept Next a languid cheek that slept, Sharing in the shadow.
[…]
This dog, if a friendly voice Call him now to blyther choice Than such chamber-keeping, ‘Come out !’ praying from the door, — Presseth backward as before, Up against me leaping.
Flush forgoes sun, air, dew, and hunting, the task he was bred to perform, in favor of languishing in Barrett Browning’s chambers. She describes it as a knowing sacrifice—if the door were opened, the dog wouldn’t rush out. His appearance as the consummate spaniel makes for a pretty introduction, but her love extends beyond the superficial. What Barrett Browning valorizes, more than his beauty, is her dog’s Christlike willingness to sacrifice himself to be her companion.
Woolf appreciated Barrett Browning’s poetry in part as an exemplar of self-possessed female artistry, and for her desire to capture the spirit of modern life in poetry; in a 1931 essay in the Times Literary Supplement, she argued that Barrett Browning’s works, particularly her “novel-poem” Aurora Leigh, had been mistakenly dismissed by contemporary critics. Woolf might have been interested in Flush because she was a dog owner herself: a mutt matter-of-factly named Grizzle, and, later, Pinka, a purebred spaniel received as a gift from her close friend and lover Vita Sackville-West. Woolf thanked her for the present but seemed to think it was too much. She asked to reimburse Sackville-West for the dog’s market value and noted that Grizzle—described elsewhere as “raw, greasy, mudstained”—was jealous of the aristocratic puppy. Woolf asked, “Can I live up to a Sackville Hound?”
Dogs are dogs, but they’ve coevolved with our species for long enough that we project onto them our own symbols. In different eras, they’ve been gods and beggars, proof of cultural refinement or scientific hubris. We like to see them do the same things we do, but more nobly, which is to say, with less guile. My mother’s aging German shepherd is a dropout guide dog for the blind who likes to eat grass, and yet he has also recently been metonymically linked, in the way my family talks about him, to the pathos of death in old age, as if he were Priam awaiting the fall of Troy.
Perhaps what Woolf was after, the “matter of hints and shades,” was this: when you idealize something you control, it undoes both of you. One theory holds that the owner of a perfect object should be just as perfect, that a monarch’s ermine and precious gems and purebred Cavalier King Charles spaniels are an extension of his eminence. A subpar dog reflects poorly on your person (see “noseless atrocity, bred by author”). But when there’s an animal snuffling around in the equation, these value judgements become difficult. Perfection is a fantasy. Although part of a dog’s soul wants nothing more than to be a good companion to humans, another part—a mystery to us—draws them to their own, doggish things: roaming around cities with odd haircuts compelled by a reasoning we will never fully understand.
Erin Schwartz is a New York-based writer and the co-editor of Natasha.
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
A literary work is a reflection of its time and its author's origin and situation. Aleksandr Solzhenitsyn's works grew out of Russia's narrative traditions and reflect Soviet society. His debut, One Day in the Life of Ivan Denisovich, and several of his later works, focus on life in the Soviet gulag camps. Alexandr Solzhenitsyn - Biographical - NobelPrize.org
The Gulag Archipelago (Russian: Архипела́г ГУЛА́Г, Arkhipelág GULÁG) is a three-volume book written between 1958 and 1968 by Russian writer and historian Aleksandr Solzhenitsyn. It was first published in 1973, followed by an English translation the following year. It covers life in the gulag, the Sovietforced labour campsystem, through a narrative constructed from various sources, including Solzhenitsyn's own experience as a gulag prisoner, reports, interviews, statements, diaries, and legal documents.
Following its publication, the book initially circulated in samizdatunderground publication in the Soviet Union until its appearance in the literary journal Novy Mir in 1989, in which a third of the work was published in three issues.[1] Since the dissolution of the Soviet Union, The Gulag Archipelago has been officially published, and since 2009, is mandatory reading as part of the Russian school curriculum.[2] A fiftieth anniversary edition will be released in 2018.
Litze received her BA in Chinese Literature from the National Chengchi University and her M.A and Ph.D in Social Psychology from Syracuse University, New York. She completed her postdoctoral research in psychology and statistics at the University of California in Los Angeles. She was a professor in statistics and psychology at the University of California, Santa Cruz.
She also worked in the U.S. financial industry for many years. Currently, Litze is a research /statistical and investment consultant. Litze is internationally recognized for her work in Structural Equation Modeling. Her research in psychology and statistics remains prolific within the academic community and may be cited in hundreds of articles and books. Litze’s other expertise includes Meta-Analysis, regression analysis, analysis of variance, and multivariate statistical analyses. Other research areas include social influence, group process, social cognition, decision-making, cross-cultural psychology, and mental health.
目錄
詩的語言與形式
岩上八行詩
樹 Tree 河 River 椅 Chair 杯 Cup 屋 House 墓 Grave 路 Road 床 Bed 鏡 Mirror 橋 Bridge 窗 Window 花 Flower 燈 Light 淚 Tears 血 Blood 水 Water 夢 Dream 煙 Smoke 岸 Shore 齒 Teeth 夜 Night 鞋 Shoes 酒 Wine 手 Hand 臉 Face 髮 Hair 舞 Dance 風 Wind 火 Fire 站 Station 耳 Ear 楓 Maple 雲 Cloud 霧 Fog 網 Net 疤 Scar 茶 Tea 磚 Brick 鹽 Salt 門 Door 歌 Song 線 Line 刀 Knife 燭 Candle 碗 Bowl 瓶 Bottle 影 Shadow 傘 Umbrella 藤 Vine 眼 Eyes 弦 String 鐘 Bell 推 Shoving 飛 Fly 鼓 Drum 秤 Scale 暮 Evening 葉 Leaf 雪 Snow 岩 Rock 瓜 Squash 唇 Lips 舌 Tongue 腳 Foot