Sutras with illustrations on fig leaves

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Sutras with illustrations on fig leaves

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This is a finely illustrated Chinese manuscript containing two Buddhist sūtras and images painted on leaves.

The text

This illustrated manuscript from China contains the text of two of the most popular Buddhist sūtras of the Mahāyāna tradition: the Heart Sūtra and the Diamond Sūtra. The inscription on the wood cover reads: ‘Buddha of Unmeasurable Long Life’. The Heart Sūtra covers one page at the beginning of the book, with text written in silver. The longer text of the Diamond Sūtra covers the rest of the item and it is written in gold. Each page of text is accompanied with one of thirty illustrations representing various religious scenes, including Buddhist saints, priests and protectors.

The material

Each illustration is painted on a leaf of the ficus religiosa or Bodhi tree, a species of fig native to Asia. This tree is considered sacred in Buddhist tradition for it is said to be the tree under which Siddhartha Gautama, later known as Buddha, attained enlightenment in Bodh Gaya, India. The leaves are heart shaped with a long tip, which allows rain to fall off easily during tropical rainstorms. For painting, the leaves are soaked in water until the green cells disintegrate and only the frame remains. They are then dried and backed with paper. The blue colour of the background is often used to give a nice visual contrast to the sparkling colours used on the leaves, and the gold or silver of the text.

https://www.bl.uk/collection-items/sutras-with-illustrations-on-fig-leaves?fbclid=IwAR0nTIc1IEy8zsyBQ4tARAj3fQYw8aRA-eDJBfmpCA2Ej9F6Tmcki05RXDw

Full title:

Two of the Sacred Books of the Buddhists; in Chinese; written in gold and silver characters on an azure ground, with numerous illuminations, beautifully executed, on leaves of the sacred fig-tree. Folio. [11,746.]

Created:

18th–19th century, China

Format:

Manuscript / Concertina album

Language:

Chinese

Usage terms

Public Domain

Held by

British Library

Shelfmark:

Add MS 11746

Full catalogue details

This item is featured in:

• Discovering Sacred Texts

Related articles

The Buddha and Buddhist sacred texts

Article by:

Peter Harvey

Themes:

Sacred texts, Buddhism

Professor Peter Harvey recounts the life and teachings of the Buddha, as well as considering the role that the Buddha plays in the different branches of Buddhism and how his teachings have been collected.

Related collection items

Booklet of the Avalokitesvara Sutra (c. 10th century)

A Chinese-Tibetan manuscript of the Lankavatara Sutra (800–850)

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Akira Kurosawa and his films

October 31, 2019, 2:31 am

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2018年10月31日下午12:42 · 

The Films of Akira Kurosawa. University of California Press, 1965. 3rd edition, expanded and updated, 1998. ISBN 978-0-520-22037-9
日譯本

曲終人不散 ——《MUZIK古典樂刊》停刊公告

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MUZIK 閱聽古典樂

📌曲終人不散 ——《MUZIK古典樂刊》停刊公告📌
　　
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#再見

何懷碩《十年燈》

November 2, 2019, 5:36 am

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何懷碩《十年燈》台北：大地，1974.8/1975.9 六版，張佛千代序，14頁
書封面字，自題；畫，自作《蒼喦》。

浮草 1983；小宇宙 2018

November 2, 2019, 10:12 pm

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浮草 1983；小宇宙 2018

川端康成 《日本的美與我》喬炳南譯，諾貝爾獎的網站有 川端康成 1968年12月12日日本演講文稿 日文原版和英文翻譯

November 3, 2019, 1:28 am

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 川端康成 《日本的美與我》喬炳南譯，諾貝爾獎的網站有 川端康成 1968年12月12日日本演講文稿 日文原版和英文翻譯





18:59NOW PLAYING


297 雪月花時最懷友 (續:295 喬炳南譯『美しい日本の私』) HC主講



295 喬炳南譯川端康成『美しい日本の私』(一、月歌的桂冠)　　HC主講


川端康成 《日本的美與我》喬炳南譯，台北：臺灣商務，1970/1985 三版
這本書應屬精讀、背誦、研究翻譯的好書。

現在諾貝爾獎的網站有 川端康成 1968年




川端康成 《日本的美與我》喬炳南譯，台北：臺灣商務，1970/1985 三版

這本書應屬精讀、背誦、研究翻譯的好書。
我猜此篇為所有中文翻譯 (包括稍後的中國版)的原始參考版，所以最值得參考。


現在諾貝爾獎的網站有 川端康成 1968年12月12日日本演講文稿 日文原版和英文翻譯 (它與《日本的美與我》的附錄的英文版https://www.nobelprize.org/prizes/literature/1968/kawabata/lecture/
，略有不同，有不少改善，譬如說，

But when we come to the following poems of the Empress Eifuku, who lived at about the same time as Ikkyu, in the Muromachi Period, somewhat later than the Shinkokinshu, we have a subtle realism that becomes a melancholy symbolism, delicately Japanese, and seems to me more modern:

“Shining upon the bamboo thicket where the sparrows twitter,
The sunlight takes on the color of the autumn.”
“The autumn wind, scattering the bush clover in the garden,
sinks into one’s bones.
Upon the wall, the evening sun disappears.”

 《日本的美與我》喬炳南譯，所附的英文；比較2種英文版本，可知道介紹文和詩文都有改進：

 But when we come to the following poems of the Empress Eifuku (1271~1342), from the late Kamakura and early Muromachi periods, somewhat later than the Shinkokinshu, we have a more subtle realism. It becomes a symbol of a  delicately Japanese melancholy symbolism,, and seems to me more modern:

“Shining upon the bamboo thicket where the sparrows twitter,
The sunlight takes on the color of the autumn.”

"The hagi* falls, the autumn wind is piercing, 
Upon the wall, the evening sun disappears.”

Ian Buruma 部分著作：Voltaire's Coconuts: or Anglomania in Europe

November 3, 2019, 8:05 pm

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≪ Previous: 川端康成 《日本的美與我》喬炳南譯，諾貝爾獎的網站有 川端康成 1968年12月12日日本演講文稿 日文原版和英文翻譯

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**

Voltaire's Coconuts: or Anglomania in Europe Hardcover – 11 Mar 1999

by Ian Buruma  (Author)

Voltaire's Coconuts is a wonderfully engaging and witty combination of history and biography which looks at how Europeans have been fascinated by all that it means to be English. Dutch by birth, Buruma came to live in England in 1990 for the third time in his life and noticed a new mood of introspection. Englishness was a subject of endless discussion. Fox hunting was debated, loyalty to English cricket a hot issue, and the future of the monarchy rarely out of the news. This worrying over Englishness resulted, in Buruma's words, 'in great balls of intellectual wool', obscuring the more practical reasons why Europeans have admired (or hated) Britain in the past: its liberal institutions, its civil liberties, its delicate balance between social order and the free pursuit of self-interest. In this brilliant and elegantly written book Buruma examines these ideas about Englishness and what Europeans admired or loathed about Britain. Voltaire wondered why British laws could not be planted in France, or even Serbia, like the precious seeds of coconut trees. Karl Marx thought the English were too stupid to start a revolution; Goethe worshipped Shakespeare; Baron de Coubertin's idea of the modern Olympic Games was inspired by Tom Brown's Schooldays; Theodor Herzl's dream of the Jewish state was fuelled by his love of British aristocracy; and the German Kaiser was convinced that Britain was run by Jews. Combining biographical stories of these European Anglophiles and Anglophobes with memories of his own Anglo-Dutch-German-Jewish family, Ian Buruma has found a wholly original way of describing the relationship between Britain and Europe. This is a dazzlingly clever book which through its exploration of anglomania shows how much Englishness and people's view of it has shaped modern Europe.

Amazon Review

Ian Buruma's wonderful book on Europe's fascination with England takes its title from a remark made by Voltaire in the mid-18th century: wasn't it possible for England's love of law and liberty to be planted, like the seeds of coconut trees, throughout Europe? Voltaire was the ultimate Anglophile: liberal, humorous, enlightened and ultimately humane, not unlike Buruma himself, whose delightful Voltaire's Coconuts weaves a compelling story, from Voltaire onward, of the ways in which European exiles and emigrés have fallen under the spell of the intangible mix of snobbery, liberalism, xenophobia and tolerance which make up what it means to be English.

Buruma's roll call of Anglophiles is impressive. Wonderful sections on Voltaire are followed by chapters on Goethe's Bardolatry, a marvellously vivid account of frustrated revolutionary exiles in Victorian London (including Marx and Mazzini), Theodor van Herzl's vision of a Jewish state based on his admiration of the English aristocracy. The book concludes with sketches of two of the most influential Anglophiles of 20th-century English culture: Nikolaus Pevsner and Isaiah Berlin. But as well as being an elegant and witty cultural history of European "Anglomania", Voltaire's Coconuts never loses sight of the darker side of national belonging, as Buruma interweaves his own complex family history into his narrative, as well as some subtle and perceptive accounts of the state of the nation as Buruma views it from the office of The Spectator and the Conservative Party Conference in post-Thatcherite Britain. A marvellous book about belonging and Englishness: witty, erudite, subtle and above all humane. --Jerry Brotton

Synopsis

Voltaire's Coconuts is a wonderfully engaging and witty combination of history and biography which looks at how Europeans have been fascinated by all that it means to be English. Dutch by birth, Buruma came to live in England in 1990 for the third time in his life and noticed a new mood of introspection. Englishness was a subject of endless discussion. Fox hunting was debated, loyalty to English cricket a hot issue, and the future of the monarchy rarely out of the news. This worrying over Englishness resulted, in Buruma's words, 'in great balls of intellectual wool', obscuring the more practical reasons why Europeans have admired (or hated) Britain in the past: its liberal institutions, its civil liberties, its delicate balance between social order and the free pursuit of self-interest. In this brilliant and elegantly written book Buruma examines these ideas about Englishness and what Europeans admired or loathed about Britain. Voltaire wondered why British laws could not be p lanted in France, or even Serbia, like the precious seeds of coconut trees.

Karl Marx thought the English were too stupid to start a revolution; Goethe worshipped Shakespeare; Baron de Coubertin's idea of the modern Olympic Games was inspired by Tom Brown's Schooldays; Theodor Herzl's dream of the Jewish state was fuelled by his love of British aristocracy; and the German Kaiser was convinced that Britain was run by Jews. Combining biographical stories of these European Anglophiles and Anglophobes with memories of his own Anglo-Dutch-German-Jewish family, Ian Buruma has found a wholly original way of describing the relationship between Britain and Europe. This is a dazzlingly clever book which through its exploration of anglomania shows how much Englishness and people's view of it has shaped modern Europe.

伏爾泰的椰子︰歐洲的英國文化熱簡體書 , [英]伊恩‧布魯瑪（Ian Buruma）劉雪嵐 蕭萍 , 生活‧讀書‧新知三聯書店 , 出版日期: 2007-02-01
優惠價: 87 折, 131 元 試閱

伏爾泰、歌德、馬志尼、赫爾岑、馬克思、顧拜旦、德王威廉二世、哈耶克、以賽亞‧伯林。這些歐陸不同時期在政治、思想和文化領域的標志性人物，因為一個共同的特征而被伊恩‧布魯瑪組織到一起︰他們或是深切的“崇英... more

伏爾泰的椰子︰歐洲的英國文化熱

• 作者： [英]伊恩‧布魯瑪（Ian Buruma）
• 原文作者： Ian Buruma
• 譯者： 劉雪嵐 蕭萍
• 出版社：生活‧讀書‧新知三聯書店
• 出版日期：2007/02/01
• 語言：簡體中文

內容簡介

伏爾泰、歌德、馬志尼、赫爾岑、馬克思、顧拜旦、德王威廉二世、哈耶克、以賽亞‧伯林。這些歐陸不同時期在政治、思想和文化領域的標志性人物，因為一個共同的特征而被伊恩‧布魯瑪組織到一起︰他們或是深切的“崇英者”，或是“仇英的崇英者”。光榮革命後的英國有著令人歆羨的自由貿易、遠征探險、自由和理性的政治理念和社會制度，還有教育“特產”公學及其培養的“英國紳士”。三百多年來，崇英風尚吸引了包括俄羅斯在內的歐洲各國的自由主義者，“英國性”成了一個說不盡的話題。

然而作者也指出，英國迷心目中的英國往往只是想象的產物，因而，“他們中的大多數，尤其晃那些充滿幻想的，最終都會發現自己的夢想因幻滅而暗淡了光彩。”

 

目錄

伏爾泰的椰子——兼評普世理想（代譯離） 陸建德
第一章 丘吉爾的雪茄
第二章 伏爾泰的椰子
第三章 歌德的莎士比亞
第四章 芬格爾的山洞
第五章 園林迷
第六章 革命的墓地
第七章 學校生活
第八章 喜愛運動的人
第九章 瓦格納的門徒
第十章 猶太人的板球
第十一章 仇英的崇英者
第十二章 萊斯利‧霍華德
第十三章 佩夫斯納博士
第十四章 穿格子呢外套的男人
第十五章 最後一個英國人
參考書目
譯後記

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序

一

1726年5月，在國內不斷惹禍的伏爾泰渡海進泰晤士河口，在格林尼治踏上英國國土。他與曾流亡法國的英國托利黨政治家博林布魯克相識，又持有當時英國駐法大使的介紹信，抵英後結交了不少名流與文人。伏爾泰兩年多的旅英生活以及後來寫下的有關英國的文字使他得到“親英”的名聲。他究竟贊賞英國社會的哪些方面？

也許英國人對商業的開明態度使他感佩。1733年，他在《賽羅》劇情的啟發下創作了悲劇《扎伊爾》，並把它題贈給招待過他的英國商人佛科納。他在獻詞上寫道︰

我把這部悲劇題贈給你，有如我題贈給同國的文人和知交一樣。……同時我能夠很高興地告訴我的國人，你們用何種目光看待商人，在英國，對于光耀國家的職業，大家知道尊重。

同年問世的英文版《哲學通信》，直譯應為《關于英國的通信》（Letters Concerning the English Nation，法文版Lettres Philosophiques晚一年出版）里有一封信專論商業。伏爾泰發現，“商業已使英國的公民富浴起來了，而且還幫助他們獲得了自由，而這種自由又轉過來擴張了商業；國家的威望就從這些方面形成壯大了。”看來商業的發達是與財產自由、人身自由和法治的精神相輔相成的。數十年後，伏爾泰在《關于百科全書的問題》（1771）“政府”條目第六節說到英國法律時突然發問︰“為什麼別的國家不采取這些法律呢？這樣是否等于問為什麼椰子在印度能成熟，在羅馬就不會？”他本人對答案並非十分肯定，因而承認，英國法律有時難以奏效，產生這些法律需要時間，再說別國的仿效也未必成功。但是他的提議毫不含糊︰這英國法律的椰予全世界都不妨“試種一下”。

二

伏爾泰的椰子是“理性”十字軍征討的戰旗，它是啟蒙哲學普世主義的特產，也是一本好書的題目。伏爾泰以及其他一些歐陸人十與英國的因緣、糾葛和嫌怨是伊恩‧布魯瑪《伏爾泰的椰子——歐洲的英國文化熱》（1999）一書的主要話題。友人于2000年夏天訪游英倫，布魯瑪先生以此書相贈，筆者先睹為快。這位布魯瑪先生1950年生于荷蘭海牙，父親是荷蘭人，母親是英國人（外公外婆又是移居英國的德國猶太人），從小便有英國情結。英國是很多體育項目的發祥地，而板球是最能代表英格蘭的運動。布魯瑪年幼時就加入了海牙板球俱樂部，也許是不自覺地借以獲取一種文化身份的象征。俱樂部成員用黃黑兩色的領帶，劍橋大學克萊爾學院的絲質領帶和羊毛長圍巾，也是同樣的顏色，成為他的最愛。那是一個以符合劃定小圈子的復雜世界，聰明但又十分勢利的海牙少年通過衣著用品和獨特的色彩搭配“形塑”出英國味道十足的自我來。布魯瑪在萊登大學攻讀中文後赴東京研究日本電影，後來相繼擔任《遠東經濟評論》和親撒切爾的《帝觀者》雜志的記者，現任美國巴德學院（位于哈德遜河畔，離紐約不遠）“人權與新聞學”講席教授，常為《紐約書評》撰稿，該刊評哈金（金雪飛筆名）得獎小說《等待》的文章就是他寫的。布魯瑪還受愛德華‧薩義德啟發，與人合著了《西方主義》（2004）一書，專門講述西方如何在它敵人的筆下被程式化。

……

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時間、 記憶與愛 “Gabo,” GABRIEL GARCÍA MÁRQUEZ, 1927-2014馬奎斯/馬爾克斯

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時間、 記憶與愛 “Gabo,” GABRIEL GARCÍA MÁRQUEZ, 1927-2014馬奎斯/馬爾克斯

"We, the inventors of tales, who will believe anything, feel entitled to believe that it is not yet too late to engage in the creation of...a new and sweeping utopia of life, where no one will be able to decide for others how they die, where love will prove true and happiness be possible, and where the races condemned to one hundred years of solitude will have, at last and forever, a second opportunity on earth.”

_GABRIEL GARCÍA MÁRQUEZ

東西自有它的生命，
只要喚醒它們的靈魂就行了。
---《百年孤寂》



「當 馬康多在《聖經》所載那種龍捲風的怒號中化作可怕的瓦礫與塵埃漩渦 時，奧雷里亞諾為避免在熟知的事情上浪費時間又跳過十一頁，開始破譯他正度過的這一刻，譯出的內容恰是他當下的經歷，預言他正在破解羊皮卷的最後一頁，宛 如他正在會見言語的鏡中照影。他再次跳讀去尋索自己死亡的日期和情形，但 沒等看到最後一行便已明白自己不會再走出這房間，因為可以預料這座鏡子之城──或蜃景之城──將在奧雷里亞諾全部譯出羊皮卷之時被颶風抹去，從世人記憶中 根除，羊皮卷上所載的一切自永遠至永遠不會再重複，因為注定經受百年孤獨的家族不會有第二次機會在大地上出現。」
----- 《百年孤獨》最後一段(賈西亞‧馬奎斯著，范曄譯)


我的額頭永遠不會被一頂皇冠玷污 -----迷宮中的將軍/馬奎斯

「我的好友馬奎斯在《百年孤寂》（One Hundred of Solitude）中，描寫陷入無可逃避的生命循環當中的人。我們不也是如此？

日升日落，四季輪替，命運之輪年復一年轉動，而軸心磨蝕，無可補救。人生在世，無法選擇要不要參與此一過程。

然而，這並不意味我們的選擇都沒意義。我始終相信，人應該奮力成就一己所能的事情：運用個人獨具的天賦、全心全意、滿懷歡欣去承受與實踐。

努 力不保證會成功，但是努力本身卻是保持對生命的信念唯一的途徑。當大限來臨，我希望別人會說，歐布萊特盡力運用天賜的一切，努力榮耀家族、報效國家，堅定 自由民主的立場，為年長女性揚眉吐氣，也讓年輕女子勇於表達自我。」 ──Madam Secretary  by 歐布萊特Madeleine Albright

《百年孤寂》馬奎斯癌逝

「全人類都該讀的作品」台灣未獲授權

2014年04月19日

諾貝爾文學獎得主馬奎斯前天肺癌病逝，享壽87歲。美聯社

【綜 合報導】1982年諾貝爾文學獎得主、哥倫比亞文學家馬奎斯，前天因肺癌病逝，享壽87歲。馬奎斯的魔幻寫實風格對文壇影響甚鉅，其代表作《百年孤寂》被 譽為「全世界人類都該閱讀的文學作品」。作家駱以軍昨說，馬奎斯影響台灣、中國、香港等地的作家，包括張大春、朱天心、和中國首位諾貝爾文學獎得主莫言等 人。

馬奎斯（Gabriel Garcia Marquez）出生於哥倫比亞阿卡塔卡（Aracataca）小鎮，家境貧困，出生後不久就被父母留給外祖父母照顧。

---

賣出逾3千萬本

馬奎斯深受長輩影響，外祖父灌輸其左派政治思想，外祖母則經常講民俗靈異故事給他聽，馬奎斯曾說：「外婆常告訴我一些超自然及神奇的事情，她講得那麼理所當然，我發現唯一能做的事就是相信故事，然後也用同樣的方式講述出來。」
《百年孤寂》以魔幻寫實手法，描述一個大家族6代故事，情節包括鬼魂造訪、近親繁殖生下豬尾巴小孩、會漂浮的神父等，此書於1967年出版即大受 歡迎，首周就售罄，迄今已被譯成逾30種語言，全球賣出逾3000萬本。美國《紐約時報》推崇此書是「全世界人類都該閱讀的文學著作」。

---

台灣賣完不再版

作家駱以軍坦承自己的作品受馬奎斯影響，他認為，馬奎斯之所以可在當時傑出的魔幻寫實主義作家中表現特別突出，是因為他充滿魔幻的作品不僅僅是天才的噴灑、狂想的天分，若仔細拆解他的作品，可以發現他寫作非常嚴謹、精準，並無忽略工匠技藝。
但 《百年孤寂》中文版近幾年才被正式授權。據《中國青年報》報導，馬奎斯1990年造訪中國時被猖獗的盜版風氣惹毛了，曾誓言「死後150年都不授與（中 文）版權」，直至2010年才態度軟化授權中國出版商，而台灣至今未獲授權，出版此書的遠景、志文出版社昨表示，庫存賣完後，不會再版。
台大外文系教授張淑英認為，拉美後輩作家恐難走出馬奎斯魔幻寫實風格，而張大春、朱天心、平路、李昂等台灣作家都坦承受其影響，例如張大春的《將軍碑》及《沒人寫信給上校》，都可看到馬奎斯的蹤跡。

---

馬奎斯也是記者及政治評論家，左傾的他和古巴前領導人卡斯楚的一段友誼曾引發爭議，而馬奎斯未利用與左派人物的影響力，協調哥倫比亞政府與左派游擊隊的衝突，加上晚年長期住在墨西哥市，都讓他在祖國相當不被諒解。

---

馬奎斯小檔案

生卒：1927/03/06∼2014/04/17，享壽87歲
學歷：哥倫比亞卡塔赫那大學法律系畢業
經歷：畢業後成為報社記者、開始創作
榮譽：1982年獲得諾貝爾文學獎
家庭：與瑪契達絲結婚56年，育有2子
著作：《葉風暴》、《百年孤寂》、《獨裁者的秋天》、《預知死亡紀事》、《愛在瘟疫蔓延時》等
資料來源：綜合外電

AN APPRAISAL | GABRIEL GARCÍA MÁRQUEZ, 1927-2014

Entwining Tales of Time, Memory and Love

By MICHIKO KAKUTANI 9:44 PM ET

Mr. García Márquez — who died on Thursday at his home in Mexico City, at the age of 87 — used his fecund imagination and sleight of hand to conjure the miraculous in his fiction.

• Obituary | Video
• ArtsBeat: Remembering His Life and Work

允晨文化

上個世紀的五O年代，馬奎斯在巴黎的街頭看到海明威，隔街大喊︰大師！大師！198２年，全世界對馬奎斯大喊︰大師！大師！
就像海明威當年的回應馬奎斯，現在，輪到他揮揮手地說︰再見了，我的朋友。

Author Gabriel Garcia Marquez dies

The Nobel prize-winning Colombian author Gabriel Garcia Marquez, author of One Hundred Years of Solitude, dies in Mexico aged 87, his family says.

BBC.COM

【‪#‎馬奎斯紀念‬】- 馬奎斯作品中譯本與相關著作

魔幻寫實主義作家馬奎斯今天逝世，《風傳媒》整理了幾本馬奎斯的經典著作中譯本，一起向這位大師致敬。

⋯⋯

更多馬奎斯作品中譯本與相關著作 | 國際 | 新聞 | 風傳媒

《百年孤寂》譯者：楊耐冬出版社：志文 《一百年的孤寂》譯者：宋碧雲出版社：遠景 《獨裁者的秋天》譯者：楊耐冬出版社：志文 《預知死亡紀事》譯者：鄭樹森出版社：遠景 《馬奎斯小說傑作集》譯者：楊耐冬出版...

STORMMEDIAGROUP.COM

人物：《百年孤獨》作者——馬爾克斯

更新時間 2014年4月17日, 格林尼治標準時間22:23

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馬爾克斯1982年獲得諾貝爾文學獎

1982年諾貝爾文學獎得主哥倫比亞籍作家加夫列爾·加西亞·馬爾克斯於2014年4月17日逝世，享年87歲。

相關内容

• 諾貝爾文學獎得主馬爾克斯逝世
• 人物：《百年孤獨》作者——馬爾克斯

相關新聞話題

• 拉丁美洲

馬爾克斯最著名的小說應該是他1967年的全球暢銷書 ——《百年孤獨》。

創作根源

加夫列爾·加西亞·馬爾克斯1928年生於哥倫比亞北部貧困小鎮阿拉卡塔卡, 由其祖父母撫養長大。他曾經形容童年是他一切創作的根源。

他的祖父，作為一個自由激進分子和兩次內戰的老兵，算是年輕的馬爾克斯政治上的啟蒙老師。

從他的祖母那裏，馬爾克斯聽到了很多神話和民間傳說。他祖母不動聲色地講述那些死去的祖先、鬼魂和幽魂圍繞房子起舞的故事。這些都成為他日後最偉大小說的養分。

馬爾克斯曾入讀一所天主教耶穌派學院，專攻法律，但很快輟學成為一名記者。

1954年，他被報社派往羅馬，自那以後他幾乎就生活在國外。他曾經生活在巴黎、委內瑞拉，最後定居在墨西哥城。

即使在他的小說越來越成功受歡迎之後，他也繼續記者工作。

靈感

深受威廉·福克納作品的影響,馬爾克斯23歲完成了他的第一部小說,但他花了七年時間才找到了一家出版商。

《樹葉風暴》和其後的三部小說都得到來自文學界的好評，但是並沒有像他其後的作品那樣廣為人知。

1965年,在他開車駛往阿卡普爾科的路上, 他獲得了百年孤獨第一章的靈感。

他直接掉轉車頭回家，將自己鎖在了房間裏，每天以六包香煙為伴。

18個月後他重新出現，發現家裏欠了12000美元的債務。不過幸運的是,他手上握有1300頁的最暢銷書的手稿。

《百年孤獨》

小說的西班牙語第一版一個星期內就售罄了。在之後的30年裏，《百年孤獨》的銷量超過3000萬冊,並被翻譯成30多種語言。

《百年孤獨》曾被《紐約時報》形容為「《創世紀》之後，首部值得全人類閱讀的文學巨著」。

馬爾克斯一舉成名後，曾被要求作為協調員參加過哥倫比亞政府和多個游擊隊組織的談判。

馬爾克斯形容書籍是他與古巴領導人卡斯特羅友誼的基礎

他還與古巴領導人卡斯特羅成為朋友，不過，馬爾克斯堅持書籍是他們之間友誼的基礎。

他曾在採訪中表示，「卡斯特羅是個溫文爾雅的人，我們在一起時談論的是文學。」

評價

馬爾克斯1982年獲得諾貝爾文學獎，被稱頌的是他用於表達想像力時充滿活力的散文體和豐富的語言。

然而一些人認為他的作品誇張做作, 用一些超自然的神話來逃避國家的動亂。

他自己則說，他的超現實主義來源於拉丁美洲的現實。他在《迷宮中的將軍》和《族長的沒落》中表達了越來越多隊哥倫比亞國內暴力的反對情緒。

馬爾克斯的文學大師地位因1986年出版的《霍亂時期的愛情》而進一步得以提升。

在這本講述兩對情侶的故事中，年輕情侶的原型正是他自己的父母。

墨西哥小說家卡洛斯·馬西斯形容馬爾克斯應該是自塞萬提斯以來最好的西班牙語作家。

「他是為數不多的藝術家之一，他們成功地記載了一個民族乃至整個洲際大陸的歷史、文化和生活。」

他以豐沛想像與狡黠技法書寫史詩

悼文MICHIKO KAKUTANI2014年04月18日

圖為魔幻現實主義大師加夫列爾·加西亞·馬爾克斯（左）在2003年。

Andres Reyes/FNPI, via Associated Press

魔幻現實主義的魔法師加夫列爾·加西亞·馬爾克斯(Gabriel García Márquez)星期四在墨西哥城家中逝世，享年87歲。他以豐沛的想像力與華麗狡黠的技法，在小說中營造出種種不可思議的奇景：失眠症與健忘症成為流行 疾疫、承載死亡秘密的魔法葡萄、無數黃色花朵整夜從天而降、大片滲出鮮血的百合花、被困在拉美叢林里的西班牙大型帆船，還有一出生就帶有主人烙印的牛犢。

這樣的畫面不僅顯示出他無窮盡的創作才思，也證明他包羅萬象的藝術 想像，能在庸常中捕捉特異之處，在奇幻中發現似曾相識。在《百年孤獨》(One Hundred Years of Solitude)、《族長的沒落》(The Autumn of the Patriarc)和《霍亂時期的愛情》(Love in the Time of Cholera)等小說中，加西亞·馬爾克斯把一整塊大陸的歷史書寫為神話，與此同時又為人類狀況勾勒出一幅拉伯雷式(Rabelaisian)的圖像， 展現出一個狂熱的夢，愛與痛苦乃至救贖無休止地循環往複，如同時光中的莫比烏斯環。

當然，現實與超現實、日常生活與寓言的交織，是20世紀下半葉拉丁 美洲等地盛行的魔幻現實主義的標誌性手法。在當時的拉丁美洲，歷史的恐怖與錯亂往往超出邏輯、理性與傳統敘事技巧範疇。譬如有「暴力」(La Violencia)之稱的哥倫比亞內戰，在20世紀40年代末至50年代令30萬人喪生，是馬爾克斯口中的拉丁美洲「特大號現實」之一，這樣的現實要求 一種超越傳統現實主義敘事理性的表達方式。

不過，加西亞·馬爾克斯在回憶錄《活着就是為了講故事》 (Living to Tell the Tale)中說得很清楚，他對這些夢幻場景的迷戀源自童年和家族史，當時正值他的祖國內戰與政治劇變。祖父把自家工坊的牆壁刷成白色，綽號蓋博 (Gabo)的小馬爾克斯可以用這個誘人的牆面隨手塗畫，肆意暢想；祖母每天都給他講自己經歷的那些幻相——沒人推動，搖椅自己搖來晃去；「花園裡茉莉的 香氣好像看不見的鬼魂一樣」。

童年時代，馬爾克斯住在僻遠的小鎮阿拉卡塔卡，那裡如同荒蠻的美國 西部，乾燥的龍捲風、折磨人的旱災、突如其來的洪水、蝗災，還有「風卷落葉」般眾多追求財富的人，他們被聯合水果公司帶來的所謂「香蕉狂潮」吸引而來。阿 拉卡塔卡為《百年孤獨》中虛構的馬孔多鎮提供了靈感來源；而加西亞·馬爾克斯自己的大家庭也啟發他寫下了書中多子多孫、令人驚異的布恩地亞 (Buendía)家族，他在那部小說中以飽滿的熱情對這個家族進行歌頌。奇蹟和駭人聽聞的事情都是馬孔多日常生活的一部分，在這座小鎮上，現實與夢幻的 邊界模糊不清。馬孔多是一種心態，是一個神話版本的拉丁美洲，也是作者通過回憶和懷舊對童年家鄉的再度想像。

就此而言，加西亞·馬爾克斯作品中的魔力始終建立在對現實的細心觀 察基礎之上——這種能力是他在早年的記者生涯中磨練出來的。從一開始，加西亞·馬爾克斯便慢慢發展出自己獨特的聲音，有着福克納與喬伊斯式的婉轉節奏、卡 夫卡式的隱喻手法，以及博爾赫斯式的夢幻想像。後來，《百年孤獨》和《族長的沒落》中特有的天馬行空的狂熱幻想漸漸變成了更溫和的魔法，一種對日常生活的 心領神會，認識到人類愛與痛苦的極端都可以在看似平凡的人生中找到——這些都體現在《霍亂時期的愛情》與《愛情和其他魔鬼》(Of Love and Other Demons)等作品之中。

《霍亂時期的愛情》是對時間的普魯斯特式冥想，以及對各種形式的愛情的剖析——年少輕狂的愛、成熟的愛、浪漫的愛、性愛、精神之愛，甚至如同霍亂一般致命、給人帶來巨大痛苦的愛。此外，這本書也獻給他父母的戀愛與婚姻。

他的一些小說將拉丁美洲扭曲的歷史上升到史詩般的高度，其中的個人 體驗也讓位給歷史性。《族長的沒落》為一個暴君描繪出夢幻般的肖像，他似乎是這片大陸上所有依靠鐵腕獲得權力的暴君的神話綜合體：一個一度受到擁戴的英 雄，把國家出賣給外國佬，殺害反對者，用勳章、難以想像的巨額財富和「宇宙將軍」之類謙遜的頭銜獎勵自己，最後在自己的宮殿中孤獨地死去，屍體被兀鷹啄 食。

《迷宮中的將軍》(The General in His Labyrinth)如同一種自由即興創作，描寫了19世紀革命家西蒙·玻利瓦爾(Simón Bolívar)的人生，在加西亞·馬爾克斯筆下，玻利瓦爾成了他小說中諸多虛構主人公的近親——一個被寵壞的夢想家，在殉道與享樂、宏大的野心與徹底的 幻滅之間掙扎。

歸根結底，加西亞·馬爾克斯小說中最核心的並不是政治，而是時間、 記憶與愛。大陸、國家與家族的歷史經常循環往複，回到起點；過去塑造着現在；激情可以改變人生的軌跡——這些旋律持續貫穿在馬爾克斯的小說之中，在一部部 長篇與短篇中迴響。在他晚年的作品，諸如《異鄉客》(Strange Pilgrims)里的短篇小說和中篇小說《我那些憂鬱婊子的回憶錄》(Memories of My Melancholy Whores)中，加西亞·馬爾克斯寫了若干籠罩在死亡陰影之下的年老人物，但死亡早在此前便是他作品中的焦點，可以追溯到他早年的中篇小說《葉子風暴》 (Leaf Storm)和《族長的沒落》等長篇。

加西亞·馬爾克斯曾寫過，年輕時，他相信自己在戀愛和金錢方面運氣 不佳是「天生的，不可救藥的」，但他並不在意，「因為我相信我根本用不着好運氣就能寫得很好」，「我不在乎榮耀、金錢和年老，因為我相信自己年紀輕輕就會 橫屍街頭」。他說，通過閱讀福克納和喬伊斯等大師的作品，他學到，「用不着去展現事實」，「對於作家來說，憑着他才華的力量與意見的權威，就足以令他寫下 的讀起來真實可信」。

翻譯：董楠

Entwining Tales of Time, Memory and Love

An AppraisalByMICHIKO KAKUTANIApril 18, 2014

Gabriel García Márquez, foreground, with Colombian journalist José Salgar in 2003. As a writer, Mr. García Márquez found the familiar in the fantastic.

Andres Reyes/FNPI, via Associated Press

The Magus of magical realism, Gabriel García Márquez — who died on Thursday at his home in Mexico City, at the age of 87 — used his fecund imagination and exuberant sleight of hand to conjure the miraculous in his fiction: plagues of insomnia and forgetfulness, a cluster of magical grapes containing the secret of death, an all-night rain of yellow blossoms, a swamp of lilies oozing blood, a Spanish galleon marooned in a Latin American jungle, cattle born bearing the brand of their owner.

Such images were not simply tokens of his endlessly inventive mind, but testaments to his all-embracing artistic vision, which recognized the extraordinary in the mundane, the familiar in the fantastic. In novels like “One Hundred Years of Solitude,” “The Autumn of the Patriarch” and “Love in the Time of Cholera,” Mr. García Márquez mythologized the history of an entire continent, while at the same time creating a Rabelaisian portrait of the human condition as a febrile dream in which love and suffering and redemption endlessly cycle back on themselves on a Möbius strip in time.

Transactions between the real and surreal, the ordinary and the fabulous, of course, are a signature device of the magical realism that flourished in the second half of the 20th century in places like Latin America, where the horrors and dislocations of history frequently exceeded the reach of logic, reason and conventional narrative techniques. What he called the “outsized reality” of Latin America’s history — including the period of civil strife in Colombia known as La Violencia, which claimed the lives of as many as 300,000 during the late 1940s and ’50s — demanded a means of expression beyond the rationalities of old-fashioned narrative realism.

As Mr. García Márquez’s memoir “Living to Tell the Tale” made clear, however, his fascination with the phantasmagorical was as rooted in his own childhood and family history as it was in the civil wars and political upheavals of his country. His grandfather painted the walls of his workshop white so that the young boy, nicknamed Gabo, would have an inviting surface on which to draw and fantasize; his grandmother spoke of the visions she experienced everyday — the rocking chair that rocked alone, “the scent of jasmines from the garden” that “was like an invisible ghost.”

His childhood home was in the remote town of Aracataca, a Wild West sort of place, subject to dry hurricanes, killing droughts, sudden floods, plagues of locusts and “a leaf storm” of fortune hunters, drawn by the so-called banana fever fomented there by the arrival of the United Fruit Company. Aracataca would provide the seeds for the imaginary town of Macondo in “Solitude,” just as Mr. García Márquez’s own sprawling family would help inspire the story of the prolific and amazing Buendía clan memorialized with such ardor in that novel. Macondo is a place where the miraculous and the monstrous are equally part of daily life, a place where the boundaries between reality and dreams are blurred. It is, at once, a state of mind, a mythologized version of Latin America and a reimagining of the author’s boyhood town through the prism of memory and nostalgia.

For that matter, the magic in Mr. García Márquez’s work always remained grounded in a carefully observed reality — a skill honed by his early years as a reporter. From that start, Mr. García Márquez slowly developed his own distinctive voice — a voice with the sinuous rhythms of Faulkner and Joyce, the metaphorical reach of Kafka, the dreamlike imagery of Borges. In later years, the fevered flights of fantasy that distinguished “Solitude” and “Patriarch” would give way to a somewhat more muted sorcery, an appreciation — demonstrated in works like “Love in the Time of Cholera” and “Of Love and Other Demons” — of the everyday, combined with a recognition that the extremes of human love and suffering could be found in the seemingly most ordinary of lives.

“Love in the Time of Cholera” was a sort of Proustian meditation on time and an anatomy of love in all its forms — giddy adolescent love, mature love, romantic love, sexual love, spiritual love, even love so virulent it resembles cholera in its capacity to inflict pain. At the same time, it was also a kind of tribute to his own parents’ courtship and marriage.

The personal gave way to the historical in some novels that dealt on an epic level with the tortuous history of Latin America. “The Autumn of the Patriarch” created a hallucinatory portrait of a tyrant who seems like a mythic composite of every dictator to strong-arm his way to power on that continent: a once-feted hero, who sells out his country to the gringos, murders his opponents, rewards himself with medals, unimaginable wealth and the modest title “General of the Universe,” and who ends up completely isolated, discovered dead in his palace, pecked at by vultures.

As for “The General in His Labyrinth,” it performed a kind of free-form improvisation on the life of the 19th-century revolutionary Simón Bolívar, who becomes in Mr. García Márquez’s telling, a close relative of many of his fictional heroes — a spoiled dreamer, torn between martyrdom and hedonism, extravagant ambitions and crashing disillusion.

In the end, it’s not politics, but time and memory and love that stand at the heart of Mr. García Márquez’s work. How the histories of continents and nations and families often loop back on themselves; how time past shapes time present; how passion can alter the trajectory of a life — these are the melodies that thread their way persistently through his fiction, reverberating in novel after novel, story after story. In later works, like the stories in “Strange Pilgrims” and the novella “Memories of My Melancholy Whores,” Mr. García Márquez wrote about older characters, falling under the shadow of mortality, but then, death had long been a focal point in his work, going back to his early novella “Leaf Storm,” and on through novels like “The Autumn of the Patriarch.”

Mr. García Márquez once wrote that, as a young man, he believed his bad luck with women and money was “congenital and irremediable,” but he did not care, “because I believed I did not need good luck to write well,” and “I did not care about glory, or money, or old age, because I was sure I was going to die very young, and in the street.” He learned, in reading the works of the masters like Faulkner and Joyce, he said, that “it was not necessary to demonstrate facts,” that it “was enough for the author to have written something for it to be true, with no proofs other than the power of his talent and the authority of his voice.”

Gabriel García Márquez, Nobel Prize-winning explorer of myth and reality, dies at 87

View Photo Gallery — Nobel laureate Gabriel Garcia Marquez dies at 87: Gabriel Garcia Marquez, the master of magical realism whose rich and allusive explorations of myth and reality in Latin America won him the Nobel Prize for literature and a place among the greatest writers of the 20th century, died April 17 at his home in Mexico City. He was 87.

By Marcela Valdes, E-mail the writer

Gabriel García Márquez, the Nobel Prize-winning Colombian writer who immersed the world in the powerful currents of magic realism, creating a literary style that blended reality, myth, love and loss in a series of emotionally rich novels that made him one of the most revered and influential writers of the 20th century, died April 17 at his home in Mexico City. He was 87.

The Associated Press reported his death. In July 2012, his brother Jaime García Márquez announced that the author had dementia.

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The Nobel laureate and Colombian author who put magical realism on the literary map Gabriel Garcia Marquez has passed away Thursday at his home in Mexico City.

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Mr. García Márquez, who was affectionately known throughout Latin America as “Gabo,” was a journalist, novelist, screenwriter, playwright, memoirist and student of political history and modernist literature. Through the strength of his writing, he became a cultural icon who commanded a vast public following and who sometimes drew fire for his unwavering support of Cuban leader Fidel Castro.

In his novels, novellas and short stories, Mr. García Márquez addressed the themes of love, loneliness, death and power. Critics generally rank “One Hundred Years of Solitude” (1967), “The Autumn of the Patriarch” (1975) and “Love in the Time of Cholera” (1985) as his masterpieces.

“The world has lost one of its greatest visionary writers — and one of my favorites from the time I was young,” President Obama said in a statement, calling the author “a representative and voice for the people of the Americas.”

Mr. García Márquez established his reputation with “One Hundred Years of Solitude,” an epic novel about multiple generations of the Buendía family in the fantastical town of Macondo, a lush settlement based on the author’s birthplace on the Caribbean coast of Colombia. The novel explored social, economic and political ideas in a way that captured the experience of an entire continent, but it also included supernatural elements, such as a scene in which a young woman ascends to heaven while folding the family sheets.

By fusing two seemingly disparate literary traditions — the realist and the fabulist — Mr. García Márquez advanced a dynamic literary form, magic realism, that seemed to capture both the mysterious and the mundane qualities of life in a decaying South American city. For many writers and readers, it opened up a new way of understanding their countries and themselves.

In awarding Mr. García Márquez the literature prize in 1982, the Nobel committee said he had created “a cosmos in which the human heart and the combined forces of history, time and again, burst the bounds of chaos.”

“One Hundred Years of Solitude” has been translated into more than 35 languages and has sold, by some accounts, more than 50 million copies. The Chilean poet and Nobel laureate Pablo Neruda described the book as “the greatest revelation in the Spanish language since the Don Quixote of Cervantes.”

Mr. García Márquez parlayed his literary triumphs into political influence, befriending international dignitaries such as President Bill Clinton and François Mitterrand, the late president of France. The celebration for Mr. García Márquez’s 80th birthday was attended by five Colombian presidents and the king and queen of Spain.

Yet few knew the penury the author endured before achieving fame. “Everyone’s my friend since ‘One Hundred Years of Solitude,’ ” Mr. García Márquez once told a brother, “but no one knows what it cost me to get there.”

From ‘the House’ to the world

Gabriel José García Márquez was born March 6, 1927, in Aracataca, a town near Colombia’s Caribbean coast. He was the eldest child of a local beauty and a telegraph-operator-turned-itinerant-pharmacist — some called him a “quack doctor” — but Mr. García Márquez was raised mostly by his maternal grandparents, the pragmatic Col. Nicolás Márquez Mejía and the superstitious Tranquilina Iguarán Cote.

Mr. García Márquez later called the colonel, a veteran of two civil wars, “the most important figure in my life” and “my umbilical cord with history and reality.” They lived in a rambling complex of rooms and terraces, which Mr. García Márquez would often call simply “the House.”

The author had a charmed yet melancholy childhood. Aracataca once flourished under the banana business of the U.S.-based United Fruit Co. but slowly declined after December 1928, when more than 1,000 striking banana workers in nearby Ciénaga were massacred by the Colombian army. Macondo, the town in “One Hundred Years of Solitude,” was named after a United Fruit plantation.

Eventually, Mr. García Márquez was reunited with his parents and siblings in Sucre, a river settlement in Colombia that became the setting for some of his darkest books.

He escaped by winning a scholarship to a secondary school near Bogotá, the capital of Colombia. After graduating in 1946, he enrolled in law school at the National University of Colombia. Poor and rail-thin, he asserted himself through his literary prowess. Neglecting his classes, he devoted himself to reading and writing, publishing short fiction in the Bogotá newspaper El Espectador.

His literary endeavors were interrupted when the populist leader Jorge Eliécer Gaitán was assassinated in 1948. The killing led to days of rioting in Bogotá and marked the beginning of a period of political repression known as “La Violencia.” Within about 10 years, between 200,000 and 300,000 Colombians were killed.

When the riots caused the law school to close, Mr. García Márquez moved to Cartagena, where he launched a career in journalism. Later he would say that the assassination greatly influenced his understanding of politics.

During these years, the author was often so poor that he had no place to live. In Barranquilla, just up the coast from Cartagena, he found his first apartment: a cheap room in a brothel nicknamed “the Skyscraper.” He said this was the perfect environment for a writer — quiet during the day, the scene of a party every night.

It was not until 1954, when he joined the staff of the El Espectador, that he gained financial stability. The next year, he published his first novel, “Leaf Storm,” a tale about the burial of a reclusive doctor in Macondo. It went virtually unnoticed.

In 1955, he became El Espectador’s European correspondent, visiting the Eastern Bloc and studying at the Experimental Film Center of Cinematography in Rome between deadlines. He was on assignment in Paris when his newspaper was closed by the Colombian government.

Rather than return home, Mr. García Márquez remained in the French capital for two years, living hand to mouth while completing “No One Writes to the Colonel,” a glittering short novel about a war veteran who would rather starve than sell his fighting rooster. The story, published in 1961, was influenced by Hemingway’s “The Old Man and the Sea” and Italian director Vittorio De Sica’s neorealist films, such as “Umberto D.”

After returning to South America in 1957, Mr. García Márquez held a series of journalism jobs. He married his longtime fiancée, Mercedes Barcha, in 1958. He moved to Mexico in 1961, beginning one of the most disheartening and exhilarating periods of his life.

Mexican breakthrough

When he arrived in Mexico City, Mr. García Márquez had few friends and no prospects of work. He aimed for the movie industry, but when his family ran out of food, he took a job editing a women’s magazine and a crime magazine on the condition that his name would never appear in either. Later he landed jobs as a scriptwriter and as an advertising copywriter.

In his mid-30s, his ability to write fiction appeared to have dried up. His previous novel had been written in Paris, and he couldn’t seem to finish another. According to the Uruguayan critic Emir Rodríguez Monegal, who first met Mr. García Márquez around this time, he was “a tortured soul, an inhabitant of the most exquisite hell: that of literary sterility.”

Yet several important events occurred during his creative drought. First, Mr. García Márquez began reading the original magic realists: Mexican Juan Rulfo, Cuban Alejo Carpentier and Guatemalan Miguel Ángel Asturias, who would later win the Nobel Prize in literature. Next, he discovered the sophisticated Latin American novels that were being published in the movement known as “El Boom,” including those by the Mexican writer Carlos Fuentes, who embraced Mr. García Márquez as part of the group despite his lack of recent work.

One day in 1965, as Mr. García Márquez drove from Mexico City to Acapulco for a holiday weekend, everything changed. According to legend, he was navigating a twisting highway when the first sentence of “Solitude” suddenly formed in his mind:

“Many years later, as he faced the firing squad, Colonel Aureliano Buendía was to remember that distant afternoon when his father took him to discover ice.”

In that line’s mix of past and present, military and miraculous, lay the germ of the entire book.

For the next year, Mr. García Márquez did nothing but write while his wife pawned almost all their possessions to feed the family. “I didn’t know what my wife was doing, and I didn’t ask any questions,” he told an interviewer. “But when I finished writing, my wife said: ‘Did you really finish it? We owe $12,000.’ ”

Their financial gamble paid off. A few weeks after the novel’s publication in Buenos Aires, the couple visited the Argentine capital’s most prestigious theater. As they looked for their seats, the entire audience gave them a spontaneous standing ovation.

In Gerald Martin’s biography of Mr. García Márquez, journalist Tomás Eloy Martínez recalled: “At that precise moment, I saw fame come down from the sky, wrapped in a dazzling flapping of sheets, like Remedios the Beautiful, and bathe García Márquez in one of those winds of light that are immune to the ravages of time.”

Although magic realism had existed long before “Solitude” appeared, Mr. García Márquez’s version of it captivated readers because it was informed by both a gritty engagement with Latin American politics (thanks to his years in journalism) and an intimate knowledge of folkloric beliefs (thanks to his grandmother in Aracataca).

Its characters include both the Colonel Aureliano Buendía (father of 17 sons by 17 women, perpetrator of 32 uprisings and survivor of 14 assassination attempts) and the gypsy Melquíades, who can see the future and cast spells. Its plot includes a massacre of banana workers and a rainstorm that lasts four years, 11 months and two days. And its prose was a revelation: luminous, opulent, ecstatic.

The result, William Deresiewicz wrote in the Nation, is that Mr. García Márquez’s “impossible fusion of subject and tone gives utterance to the Latin American soul: by fronting the continent’s tragic history with the unquenchable fiesta of his style.”

Politics, patriarch and punch

In the years after that Argentine ovation, Mr. García Márquez transformed into an international celebrity. He moved from Mexico to Barcelona, where he socialized with all the major writers of El Boom. He became particularly close to the Peruvian novelist Mario Vargas Llosa, who named Mr. García Márquez the godfather of his second son.

Yet rifts in the friendship emerged in 1968 when the Cuban dissident Heberto Padilla was awarded a major literary prize against Castro’s wishes. The event proved a watershed moment for Latin American intellectuals. Most, including Vargas Llosa, supported Padilla and free speech. Mr. García Márquez supported Castro. When Castro imprisoned Padilla in 1971, the writers’ alliance cooled further.

The final break came in 1976, at a movie premiere in Mexico City. When Mr. García Márquez approached with an effusive, open-armed greeting (“Brother!”), Vargas Llosa punched him in the face. After the incident, rumors spread that there had been some impropriety with Vargas Llosa’s wife. (According to Martin, Mr. García Márquez’s most thorough biographer, the truth has never been uncovered.)

By that point, Mr. García Márquez was used to scandal. After Chile’s democratically elected government was overthrown by a military coup in 1973, he declared a literary “strike” to involve himself more directly in leftist politics.

His first move was to return to political journalism by co-founding­ the Colombian magazine Alternativa. His debut contribution was titled “Chile, the Coup, and the Gringos.” (The magazine was bombed the next year.)

His second move was to court the friendship of Castro. He decided, for instance, to write an article about Cuba’s military involvement in Angola and to submit the article to Castro for editing and approval before publication. Although the author’s meetings with Castro occasionally led to the release of Cuban prisoners, the Cuban dissident Reinaldo Arenas called Mr. García Márquez an “unscrupulous propagandist for communism who, taking refuge in the guarantees and facilities which liberty provides, set out to undermine it.”

Appropriately, the only novel Mr. García Márquez published during this period — “The Autumn of the Patriarch” (1975) — was a stunning meditation on the psychology and stratagems of power. Completed before his strike, the book portrays an unnamed tyrant who has been in power so long that no one can remember any other ruler. He ends up surrounded by people who tell him what he wants to hear but make fun of him behind his back.

Told in flashbacks in only 100 sentences, the book ranks among Mr. García Márquez’s most complex works. The novel, he declared, was “almost a personal confession, a totally autobiographical book” — a statement that has perplexed literary critics.

The great change

In 1980, after years of government pressure, Alternativa closed. The event marked the end of Mr. García Márquez’s overt political activism and his turn toward diplomacy and backroom mediation. It also cleared the way for his most electrifying literary period.

In 1981, he published “Chronicle of a Death Foretold,” a suspenseful and technically dazzling interpretation of the honor killing of his friend Cayetano Gentile in Sucre. Its opening print run (2 million copies) was the largest in history for a work of literary fiction.

Four years later, he brought out “Love in the Time of Cholera.” Partly based on his parents’ courtship, it tells the story of a man who loses the love of his youth but wins her back a half-century later, after her husband dies rescuing a parrot in a mango tree.

Then, in 1989, at the age of 62, Mr. García Márquez published “The General in His Labyrinth,” a meticulously researched novel about Simon Bolívar, the liberator of South America.

Still thriving at 71, he bought Cambio magazine in Colombia with a group of investors and conducted an interview with Venezuelan President Hugo Chávez. In 1999, he received a diagnosis of lymphoma and was seldom seen in public in the last decade of his life.

Survivors include his wife, two sons, seven brothers and sisters, and a half sister.

As Mr. García Márquez’s health and memory faded, so, inevitably, did his literary muscle. His last four books — “Of Love and Other Demons” (1994), “News of a Kidnapping” (1996), “Living to Tell the Tale” (2001) and “Memories of My Melancholy Whores” (2004) — are generally considered his weakest.

Meanwhile, the next generation of Latin American writers turned him into a symbol of the fiction and the politics they rejected. A 1996 anthology called “McOndo” suggested that his vision of a tragi-miraculous Caribbean countryside had no relevance in a world dominated by McDonald’s. The region’s next rising star, the Chilean novelist Roberto Bolaño, scorned his cozy relationship with power.

Yet even those rebellions proved Mr. García Márquez’s enduring influence. Three decades after the publication of “Solitude,” he was still the titan with whom every serious Latin American writer needed to reckon.

He forged Latin America’s most contagious and original style. He wrote its most influential and popular books about the motives of tyrants and the endurance of love. And he explained what connects his perennial themes: “You know, old friend, the appetite for power is the result of an incapacity for love.”

Valdes is a writer specializing in Latin American literature.

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Zen Master Dogen道元禪師: An Introduction with Selected Writings(日)道元 (1200-53) 正法眼藏Zen Master Dōgen: An Introduction with Selected Writings

November 5, 2019, 5:04 pm

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道元 (1200-53) ：「當竊觀想，生於後五百年，雖身處邊地遠島，宿善不朽而正傳古佛之威儀，不污染而修證者，當隨喜、歡喜。」


Zen Master Dogen: An Introduction with Selected Writings by Yuho Yokoi (Author), Weatherhill Inc (1976)...

此書說道元 (1200-53) 訪中國時，有二位韓國和尚可講道(經)多日，不過他們連個袈裟和缽都沒有，正如多數出國的日本和尚般，很不像話。

The Life Of Zen Master Dogen (Full Movie) - YouTube

【正法眼藏】
（術語）又曰清淨法眼。禪家以之為教外別傳之心印。釋氏稽古略一曰：「佛在靈鷲山中，大梵天王以金色波 羅華持以獻佛。世尊拈華示眾，人天百萬悉皆罔 攝，獨有迦葉，破顏微笑。世尊曰：吾有正法眼藏涅槃妙心，分付迦葉。」今以禪門之意解之，則是正為佛心之德名，此心徹見正法，故曰正法眼。深廣而萬德含 藏，故曰藏。法華經所謂佛知見也。涅槃妙心，為佛心之本體。體寂滅，故曰涅槃。不可思量分別，故曰妙。法華所謂妙法也。但法華就客觀而謂為妙法。今就主觀 而謂為妙心。對一類頓悟之機，使離言句之假名，直爾會得此佛心，謂之以心傳心。然世尊付囑迦葉以正法眼藏，雖為涅槃經之誠說，而拈華微笑之事，寶為禪門後 輩之蛇足。其說基於慧炬之寶林傳，人天眼目，五燈會元已下與之雷同，惟為誇張其宗之具耳，隋唐之諸祖無言此事者。傳燈錄二曰：「說法住世四十九年，後告弟 子摩訶迦葉，吾以清淨法眼涅槃妙心實相無相微妙正法將付於汝，並敕阿難副貳傳化無令斷絕。」又曰：「佛告諸大弟子，迦葉來時可令宣揚正法眼藏。」明教傳法 正宗記所載亦同之。是正涅槃經二所謂：「爾時佛告諸比丘，我今所有無上正法悉以付囑摩訶迦葉，是迦葉者當為汝等作大依止」是也。然則謂為正法眼藏，謂為清 淨法眼，皆總以名佛一代所說無上之正法也。況大悲經教品曰：「如來法付囑諸聖，以正法眼之名，且指滅後三藏結集曰結集法眼，豈限於所謂教外別傳之心印 耶？」（參見：拈花微笑）。【又】（書名）書名。有明徑山宗杲之正法眼藏。有日本道元禪師之永平正法眼藏。

婆娑

2004

「婆娑*世界大宋國 福州玄妙山….. 」
*婆娑：梵語saha ，意譯為"忍土""忍界"等，意指忍受各種煩惱 困苦的世界。

--(日)道元 (1200-53) 正法眼藏（何燕生譯注，北京:宗教文化出版社，2003 ）p.76， 第七 "一顆明珠"

Dōgen Zenji (道元禅師; also Dōgen Kigen道元希玄, or Eihei Dōgen永平道元, or Koso Joyo Daishi) (19 January 1200 – 22 September 1253) was a JapaneseZenBuddhist teacher born in Kyōto, and the founder of the Sōtō school of Zen in Japan after travelling to China and training under the Chinese Caodong lineage there. Dōgen is known for his extensive writing including the Treasury of the Eye of the True Dharma or Shōbōgenzō, a collection of ninety-five fascicles concerning Buddhist practice and enlightenment.


Yokoi, Yūhō and Victoria, Daizen; tr. ed. Zen Master Dōgen: An Introduction with Selected Writings. New York: Weatherhill Inc., 1990. ISBN 0-8348-0116-7.

道元禪師（どうげん，1200年－1253年），日本鎌倉時代著名禪師，將曹洞宗禪法引進日本，為日本曹洞宗始祖。為永平寺住持，人稱永平道元。晚年自號希玄，故又稱希玄道元。謚號佛性傳東國師、承陽大師。

目錄

• 1生平
• 2著作
• 3相關電影
• 4關連項目
• 5外部連結

生平[編輯]

日本貞應二年（1223年），渡海來到中國南宋學習佛法。在天童寺長翁如淨門下開悟，得到印可傳承。回到日本之後，創立位於福井縣的永平寺，提倡曹洞宗默照禪法，提出「只管打坐」的修行法門。

著作[編輯]

著有《正法眼藏》。

相關電影[編輯]

以道元禪師生平為題材的電影為2009年日本電影《禪 ZEN》。故事內容是改編自大谷哲夫的2001年出版的小説『永平の風 道元の生涯』，由高橋伴明導演，中村勘太郎飾演道元禪師。

Teachings[edit]

Zazen[edit]

Dōgen often stressed the critical importance of zazen, or sitting meditation as the central practice of Buddhism. He considered zazen to be identical to studying Zen. This is pointed out clearly in the first sentence of the 1243 instruction manual "Zazen-gi" (坐禪儀; "Principles of Zazen"): "Studying Zen ... is zazen".^[31] Dōgen taught zazen to everyone, even for the laity, male or female and including all social classes.^[32] In referring to zazen, Dōgen is most often referring specifically to shikantaza, roughly translatable as "nothing but precisely sitting", or "just sitting," which is a kind of sitting meditation in which the meditator sits "in a state of brightly alert attention that is free of thoughts, directed to no object, and attached to no particular content".^[33] In his Fukan Zazengi, Dōgen wrote:

For zazen, a quiet room is suitable. Eat and drink moderately. Cast aside all involvements and cease all affairs. Do not think good or bad. Do not administer pros and cons. Cease all the movements of the conscious mind, the gauging of all thoughts and views. Have no designs on becoming a Buddha. Zazen has nothing whatever to do with sitting or lying down.^[34]

Dōgen called this zazen practice "without thinking" (hi-shiryo) in which one is simply aware of things as they are, beyond thinking and not-thinking - the active effort not to think.

The correct mental attitude for zazen according to Dōgen is one of effortless non-striving, this is because for Dōgen, enlightenment is already always present.

Further, Dōgen frequently distanced himself from more syncretic Buddhist practices at the time, including those of his contemporary Eisai. In the Bendowa, Dōgen writes:^[35]

Commitment to Zen is casting off body and mind. You have no need for incense offerings, homage praying, nembutsu, penance disciplines, or silent sutra readings; just sit single-mindedly.

Oneness of practice-enlightenment[edit]

The primary concept underlying Dōgen's Zen practice is "oneness of practice-enlightenment" (修證一如 shushō-ittō / shushō-ichinyo).

For Dōgen, the practice of zazen and the experience of enlightenment were one and the same. This point was succinctly stressed by Dōgen in the Fukan Zazengi, the first text that he composed upon his return to Japan from China:

To practice the Way singleheartedly is, in itself, enlightenment. There is no gap between practice and enlightenment or zazen and daily life.^[36]

Earlier in the same text, the basis of this identity is explained in more detail:

Zazen is not "step-by-step meditation". Rather it is simply the easy and pleasant practice of a Buddha, the realization of the Buddha's Wisdom. The Truth appears, there being no delusion. If you understand this, you are completely free, like a dragon that has obtained water or a tiger that reclines on a mountain. The supreme Law will then appear of itself, and you will be free of weariness and confusion.^[37]

The "oneness of practice-enlightenment" was also a point stressed in the Bendōwa (弁道話 "A Talk on the Endeavor of the Path") of 1231:

Thinking that practice and enlightenment are not one is no more than a view that is outside the Way. In buddha-dharma [i.e. Buddhism], practice and enlightenment are one and the same. Because it is the practice of enlightenment, a beginner's wholehearted practice of the Way is exactly the totality of original enlightenment. For this reason, in conveying the essential attitude for practice, it is taught not to wait for enlightenment outside practice.^[38]

Buddha-nature[edit]

For Dōgen, Buddha-nature or Busshō (佛性) is the nature of reality and all Being. In the Shōbōgenzō, Dōgen writes that "whole-being is the Buddha-nature" and that even inanimate things (grass, trees, etc.) are an expression of Buddha-nature. He rejected any view that saw Buddha-nature as a permanent, substantial inner self or ground. Dōgen held that Buddha-nature was "vast emptiness", "the world of becoming" and that "impermanence is in itself Buddha-nature".^[39] According to Dōgen:

Therefore, the very impermanency of grass and tree, thicket and forest is the Buddha nature. The very impermanency of men and things, body and mind, is the Buddha nature. Nature and lands, mountains and rivers, are impermanent because they are the Buddha nature. Supreme and complete enlightenment, because it is impermanent, is the Buddha nature.^[40]

Time-Being[edit]

Dōgen's conception of Being-Time or Time-Being (Uji, 有時) is an essential element of his metaphysics in the Shōbōgenzō. According to the traditional interpretation, "Uji" here means time itself is being, and all being is time."^[41] Uji is all the changing and dynamic activities that exist as the flow of becoming, all beings in the entire world are time.^[42] The two terms are thus spoken of concurrently to emphasize that the things are not to be viewed as separate concepts. Moreover, the aim is to not abstract time and being as rational concepts. This view has been developed by scholars such as Steven Heine,^[43] Joan Stambaugh^[44] and others and has served as a motivation to compare Dōgen's work to that of Martin Heidegger's "Dasein".^{[citation needed]} Recently, however, Rein Raud has argued that this view is not correct and that Dōgen asserts that all existence is momentary, showing that such a reading would make quite a few of the rather cryptic passages in the Shōbōgenzō quite lucid.^[45]

Perfect expression[edit]

Another essential element of Dōgen's 'performative' metaphysics is his conception of Perfect expression (Dōtoku, 道得).^[46] "While a radically critical view on language as soteriologically inefficient, if not positively harmful, is what Zen Buddhism is famous for,"^[47] it^{[clarification needed]} can be argued "'within the framework of a rational theory of language, against an obscurantist interpretation of Zen that time and again invokes experience.'"^[48] Dōgen distinguishes two types of language: monji 文字, the first, – after Ernst Cassirer – "discursive type that constantly structures our experiences and—more fundamentally—in fact produces the world we experience in the first place"; and dōtoku 道得, the second, "presentative type, which takes a holistic stance and establishes the totality of significations through a texture of relations.".^[49] As Döll points out, "It is this second type, as Müller holds, that allows for a positive view of language even from the radically skeptical perspective of Dōgen’s brand of Zen Buddhism."^[50]

• Dogen Translations Translations of Dogen and other works by Anzan Hoshin.
• Understanding the Shobogenzo by Gudo Nishijima

((國語辭典 中的"婆娑"
舞蹈的樣子。《詩經˙陳風˙東門之枌》：「子仲之子，婆娑其下。

」《儒林外史˙第十一回》：「嗅窗前寒梅數點，且任我俛仰以嬉；攀月中仙桂一枝，久讓人婆娑而舞。」
盤旋、停留。《文選˙宋玉˙神女賦》：「既姽嫿於幽靜兮，又婆娑乎人間。」

闌珊、舒展。《北周˙庾信˙枯樹賦》：「此樹婆娑，生意盡矣。」

舒展。《唐˙姚合˙遊陽河岸詩》：「醉時眠石上，肢體自婆娑。」

委婉曲折。《文選˙王˙洞簫賦》：「風鴻洞而不絕兮，優嬈嬈以婆娑。」

茂盛的樣子。《爾雅˙釋木如松柏曰茂句下郭璞˙注》：枝葉婆娑。

淚光閃動的樣子。如：淚眼婆娑。))

馬克思傳 弗梅林 Franz Mehring

November 5, 2019, 10:11 pm

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弗兰茨·梅林　 Franz Mehring

(1846年～1919年)

　　1846年2月27日生于波美拉尼亚的施拉维，1919年1月28日在柏林逝世。
　　梅林早年是一位著名的自由派新闻记者，对俾斯麦的帝国政策进行抨击，但是从1890年起便成为一个社会主义者，当时他作为《莱比锡人民报》的编辑跟社会民主党（SPD）的左翼发生联系。在第一次世界大战期间，他激烈地谴责社会民主党跟政府合作的政策，跟罗萨·卢森堡一道筹建斯巴达克团，并在这个基础上于1917年成立独立社会民主党，成为该党的领导成员。李卜克内西和卢森堡在1919年1月遇害的消息，加速了他的去世。梅林对马克思主义的主要贡献是在历史和文学方面。他的《德国社会民主党史》（1897—1898），广泛地考察了19世纪德国的社会、政治和思想的发展。他的《马克思传》是第一部全面介绍马克思生平的传记，在该书的引人注目的内容中，包括为拉萨尔和巴枯宁进行客观辩护，不同意马克思对他们的某些批评。他的最杰出的著作《莱辛传奇》（1893），有助于建立起在文学和思想史方面的马克思主义社会学，同时他还在有关当代文学的论文中继续从事这项研究。在他的有关历史唯物主义的一般论述中（例如《莱辛传奇》的附录），他倾向于采用一种比较粗糙的“简化论”的方法，这招致恩格斯的含蓄的批评（见1893年7月14日恩格斯致梅林的信）。恩格斯指出了“被忽略的一点”，也就是承认马克思和他（恩格斯）曾把重点放在从作为政治基础的经济事实中探索出来的思想观念，而“忽略了形式方面，即这些观念是由什么样的方式和方法产生的。这就给了敌人以称心的理由来进行曲解和歪曲”（《马克思恩格斯选集》第4卷，第500—501页）。

（摘自《马克思主义思想辞典》。此词条由Tom Bottomore撰写）

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《论文学》

《德国社会民主党史》卷一：现代科学共产主义（1830—1848）
《德国社会民主党史》卷二：三月革命及其后果（1848—1863）
《德国社会民主党史》卷三：拉萨尔的鼓动·党派的争论（1863－1869）
《德国社会民主党史》卷四：党的合并·反社会党人法时期（1869－1891）

弗兰茨·梅林致布尔什维克的公开信（1918年6月3日）
《马克思传》（1918）


　PDF文库


马克思传
保卫马克思主义
论文学
马克思和恩格斯是科学共产主义的创始人
德国社会民主党史Ⅰ：现代科学共产主义（1830—1848）
德国社会民主党史Ⅱ：三月革命及其后果（1848－1863）
德国社会民主党史Ⅲ：拉萨尔的鼓动·党派的争论（1863－1869）
德国社会民主党史Ⅳ：党的合并·反社会党人法时期（1869－1891）

《美國散記》 Notebooks of a Dilettante By Leopold Tyrmand：公共汽車上：Three Ways of Thought in Ancient China, 1939 ；Diet, sex, and yoga

November 11, 2019, 7:21 am

≫ Next: 《繪畫與表演︰中國繪畫敘事及其印度起源研究》《唐代變文︰佛教對中國白話小說及戲曲產生的貢獻之研究》等 By Victor H. Mair, Painting and Performance : Chinese Picture Recitation and Its Indian Genesis

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《美國散記》 Notebooks of a Dilettante By Leopold Tyrmand,1967 , 香港：今日世界，1974
1966年從波蘭移民美國，1967年出版《美國散記》。
《美國散記》起碼記下2則公共汽車上看到女性所讀的書。
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p.5   某某少女讀《中國古代三類哲學思想方式》*。
*Three Ways of Thought in Ancient China, 1939  
Arthur David Waley CH CBE (born Arthur David Schloss, 19 August 1889 – 27 June 1966) was an English orientalist and sinologist who achieved both popular and scholarly acclaim for his translations of Chinese and Japanese poetry. 
https://en.wikipedia.org/wiki/Arthur_Waley

From Wikipedia, the free encyclopedia

--

pp.57~58

某慈祥中年婦女，保養得宜，不無動人之處......埋首讀 《飲食、性與瑜珈》*。"自由女神大可換上這位女士，擎著她的書為火炬。"

*

Diet, sex, and yoga (English) Hardcover – 1966

Marcia Moore  (Author)

The Statue of Liberty is a figure of Libertas, a robed Roman liberty goddess. She holds a torch above her head with her right hand, and in her left hand carries a tabula ansata inscribed in Roman numerals with "JULY IV MDCCLXXVI" (July 4, 1776), the date of the U.S. Declaration of Independence. 

Statue of Liberty - Wikipedia

https://en.wikipedia.org › wiki › Statue_of_Liberty

The Statue of Liberty is a colossal neoclassical sculpture on Liberty Island in New York Harbor in New York, in the United States. The copper statue, a gift from the people of France to the people of the United States, was designed by French ...

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Leopold Tyrmand
Plaque in memory of Leopold Tyrmand at 6 Konopnickiej Street in Warsaw, where he lived from 1946 to 1955
Born	May 16, 1920, Warsaw, Poland
Died	March 19, 1985, Fort Myers, Florida, United States
Language	Polish

Leopold Tyrmand (May 16, 1920 – March 19, 1985) was a Polish novelist, writer and editor. Tyrmand emigrated from Poland to the United States in 1966, and five years later married an American, Mary Ellen Fox. He served as editor of an anti-communist monthly Chronicles of Culture with John A. Howard. Tyrmand died of a heart attack at the age of 64 in Florida.^[1]

《繪畫與表演︰中國繪畫敘事及其印度起源研究》《唐代變文︰佛教對中國白話小說及戲曲產生的貢獻之研究》等 By Victor H. Mair, Painting and Performance : Chinese Picture Recitation and Its Indian Genesis

November 11, 2019, 11:35 pm

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Victor H. Mair, Painting and Performance : Chinese Picture Recitation and Its Indian Genesis (Honolulu: University of Hawaii Press, 1988).
繪畫與表演  北京：燕山出版社，2000；百家出版社，2011

本書包括了古代印度的看圖講故事；看圖講唱通過中亞的傳播；印度尼西亞相似的東西；近現代印度的看圖講故事；世界各地的看圖講故事五章內容。本書適合從事相關研究工作的人員參考閱讀。

目錄

《繪畫與表演》漢譯本前言
導論
第一章 古代印度的看圖講故事
第二章 看圖講唱通過中亞的傳播
第三章 印度尼西亞相似的東西
第四章 近現代印度的看圖講故事
第五章 世界各地的看圖講故事
附錄一 參考文獻
附錄二 部分人名對譯表
附錄三 圖版使用說明
譯後記
重印後記

• 看大圖

!上頁

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試閱

唐代變文︰佛教對中國白話小說及戲曲產生的貢獻之研究

• 作者： (美)梅維恆
• 譯者： 楊繼東 陳引馳
• 出版社：百家出版社
• 出版日期：2011

　　本書是研究佛教對中國白話小說及戲曲產生的貢獻的專著，書中包括了敦煌與敦煌文書；變文資料及其相關體裁；“變文”的含義；變文的形式、套語和特征；演藝人、作者和抄手；轉變存在的證據等六章內容。

本書適合從事相關研究工作的人員參考閱讀。

目錄

序
中譯本自序
譯者序　
新發現
第一章　敦煌與敦煌文書
　附︰四川與敦煌的聯系
第二章　變文資料及其相關體裁
　附︰年代問題
第三章　“變文”的含義
第四章　變文的形式、套語和特征
　附︰印度假說
第五章　演藝人、作者和抄手
第六章　轉變存在的證據
注釋及參考文獻中使用的縮略語
參考文獻目錄
附錄︰唐五代變文對後世中國俗文學的貢獻
香港版譯後記

收回

序

我很高興地看到這部研究敦煌通俗佛教文學的專著有了一個中譯本。我本人在此課題上花費了將近二十年( 1973—1990年)的時問，也就是我的大部分學術生涯。在研究過程中，我努力接觸了用中文和其他各種文字（英、法、德、日、意、俄文等等）寫成的所有有關變文的文獻，而且相信自己在這方面的工作做得相當徹底。因此，我的這部專著可以被視為對該領域研究現狀的一個總結。當然，研究工作還要繼續下去，將來學者們還會寫出涉及此課題的更多的文章和專著，而且，他們肯定會超出我在本書中所達到的水平。但是，我希望看到中國學者能夠對研究中國文學的西方學者所使用的稍許有點不同的方法采取更為開放的態度，因為這樣也許可以開拓出一些有效的方法和手段，並導致新的重要的發現。

我要向本書的兩位譯者——楊繼東和陳引馳，表示深深的謝意。翻譯本書的難度很大，盡管書中引用的大多數材料原本是中文的，但是要通過翻檢原書將其復原則須花費大量的精力，只有具備相當能力並且熟悉巾古時代通俗佛教文學的譯者才能做到這一點。此外，要將書中出現的用拉丁文拼寫的日文專有名詞（作者、地名、出版社等等）復原成漢字，其難度更大。兩位譯者以勤勉和謹慎的態度完成了此項工作。

最後，我想對我的許多中國朋友、同行和助手在我研究變文和中國文化其他課題時所給予的幫助表示感謝。他們中有季羨林、周一良、關德棟、王炳華、徐文堪。此外還有許多人，怒我無法一一列舉。我期街著今後能與會出人頭地是行長期的學術交流和合作。

• 茶的真實歷史

  簡體書 , （美）梅維恆，（美）郝也麟 , 生活‧讀書‧新知三聯書店 , 出版日期: 2018-01-01
  優惠價: 87 折, 224 元 放入購物車 試閱
  《茶的真實歷史》，以時間變遷為經線，以全球的地域傳布為緯線，展現了一幅栩栩如生的茶史全圖。既有中國茶飲的歷史，中國茶葉向外傳布的不同途徑，亦涉及日本、印度、錫蘭(斯里蘭卡)等東方各國的茶飲歷史，以及茶葉在西方世界的軌跡。作者梅維恆、郝也麟...... more
• 哥倫比亞中國文學史(上下卷)

  簡體書 , （美）梅維恆（主編） , 新星出版社 , 出版日期: 2016-07-01
  優惠價: 87 折, 1138 元 放入購物車 試閱
  。每篇章內容以時間為序，獨立成篇，其中涉及到的話題包括：相關作品的歷史背景、流行文化的影響、佛教的沖擊、女性的角色、與少數民族文學語言的交流，等等。 梅維恆(Victor H. Mair)，1943年生，哈佛大學中國文學博士，著名漢學家...... more

• 梅維恆內陸歐亞研究文選

  簡體書 , （美）梅維恆 , 蘭州大學出版社 , 出版日期: 2014-12-01
  優惠價: 87 折, 480 元

這本似乎有翻譯

Laozi, Victor H. Mair, tr. Tao Te Ching: The Classic Book of Integrity and the Way (New York: Bantam Books, 1990).

Victor Henry Mair (/mɛər/; born March 25, 1943) is an American sinologist. He is a professor of Chinese at the University of Pennsylvania. Among other accomplishments, Mair has edited the standard Columbia History of Chinese Literature and the Columbia Anthology of Traditional Chinese Literature. Mair is the series editor of the Cambria Sinophone World Series (Cambria Press), and his book coauthored with Miriam Robbins Dexter (published by Cambria Press), Sacred Display: Divine and Magical Female Figures of Eurasia, won the Sarasvati Award for the Best Nonfiction Book in Women and Mythology.

Contents

• 1Life and career
• 2Pinyin advocacy
• 3Selected works
• 4Notes
• 5References
• 6External links

梅維恒（Victor H. Mair）的《哥倫比亞中國文學史》（The Columbia. History of Chinese Literature）

李零《入山與出塞》2004到《波斯笔记》2019

November 12, 2019, 7:44 pm

≫ Next: 鈞特．葛拉斯 Gunter Grass《消逝的德國人》；2040年德國人口中移民將達三分之一

≪ Previous: 《繪畫與表演︰中國繪畫敘事及其印度起源研究》《唐代變文︰佛教對中國白話小說及戲曲產生的貢獻之研究》等 By Victor H. Mair, Painting and Performance : Chinese Picture Recitation and Its Indian Genesis

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標題：李零 《死生有命 富貴在天：《周易》的自然哲學》《唯一的規則：《孫子》的鬥爭哲學》，是香港中文大學出版社出版的繁體字版書。

Ben Chen

11月7日下午7:26 · 

古代中國研究青年學者研習會

11月7日下午5:56 · 

李零：在波斯打開世界歷史之門│好書推薦

▶️伊朗，舊稱波斯。波斯位於歐亞大陸的中央，古代世界互相交流的關鍵樞紐，波斯帝國不僅是伊朗高原的大一統，也是近東古國的大一統——從字面意義上講，堪稱另一個「中國」。同時，在所有早期帝國中，伊朗的三大帝國也與秦漢隋唐時期的中國最相似，在絲綢之路東西交往的歷史上，伊朗與中國的關係也最密切。

原文網址：https://mp.weixin.qq.com/s/SoGG2ZAexp1Bl0v8LECzLQ

MP.WEIXIN.QQ.COM

李零：在波斯打开世界历史之门丨好书推荐
没有镜子，人看不见自己的脸。他人的眼睛，可以看见你的脸。——李零《波斯笔记》

• 入山與出塞（簡體書）

• ISBN13：9787501014132
• 出版社：文物出版社
• 作者：李零
• 裝訂／頁數：平裝／387頁
• 規格：23.5cm*16.8cm (高/寬)
• 出版日：2004/06/01

作者是個按計劃寫作的人，即使單篇論文，也多半是照書的設想寫。可惜的是，計劃趕不上變化，層出不窮的學術會議、慶祝活動和各種約稿，常常把作者弄得方寸大亂，手腳大亂，陷入焦躁，或者不如說，是狂躁之中。多少年來，作者一直想擺脫這種運動周期，靜下心來，像顧炎武提倡的那樣，讀萬卷書，行萬里路，閱讀考古，享受考古，按自己的興趣和能力，寫點筆記和遊記性質的東西。所以，作者很感謝文物出版社給我這個難得的機會，讓作者把這方面的感想總結一下。
這本小書，收入的是作者討論考古、文物的文章。這些文章，並不是全部：凡與作者已出版的書重復，一般不再收入；已經寫出，還湊不夠一組(主題明確的一組)，也暫時擱置一邊。它是以“人山與出塞”為主要話題，兼收其他作品，按討論對象不同，分為八組。

內容簡介  · · · · · ·

《入山與出塞》一書為北京大學中文系教授李零先生於二〇〇四年出版的論文選集,除了〈自序〉與〈後記〉外,全書共收錄了二十九篇文章,分為「寫在前面的話」,「翁仲研究」,「有翼神獸研究」,「早期藝術中的宇宙模式」,「早期藝術中的神物圖像」,「淅川楚墓研究」,「楚國銅器研究」與「讀書偶記」八大部分,探討的課題牽涉廣泛且豐富多元.文章內容多由考古遺物遺跡入手,結合歷史學,藝術史與古文獻學等研究取徑,重新審視中國上古史中,所謂「中國文化」或「華夏文化」形成與發展的軌跡.

本書名為《入山與出塞》,開宗明義即表明作者欲從「入山」與「出塞」兩個角度出發,解釋中國上古文明演變的特色.在全書首篇〈入山與出塞〉一文中,作者大略敘述他近來關注的兩個研究課題:中國古代的祭祀遺址,以及考古發現的外來影響(頁3,10).前者(入山)強調中國在上古時代,早已發展出自身獨樹一格的文明特色...

(展開全部)

舉報

目錄  · · · · · ·

自序
一、寫在前面的話
人山與出塞
說“祭壇”和“祭祀坑”
二、翁仲研究
翁仲考
讀《絲綢之路草原石人研究》
三、有翼神獸研究
論中國的有翼神獸
再論中國的有翼神獸
獅子與中西文化的交流
說中國古代的鎮墓獸，兼及何家村銀盤上的怪鳥紋和宋陵石屏
四、早期藝術中的宇宙模式
楚漢墓葬中的帛畫和中國壁畫墓的起源
跋石板村“式圖”鏡
跋中山王墓出土的六博棋局
說漢陽陵“羅經石”遺址的建築設計
五、早期藝術中的神物圖像
馬王堆漢墓“神祇圖”應屬闢兵圖
湖北荊門“兵避太歲”戈
琉璃閣銅壺上的神物圖像
《琉璃閣銅壺上的神物圖像》補遺
六、浙川楚墓研究
“楚叔之孫翎”究竟是誰
再論淅川下寺楚墓
化子瑚 淅川楚墓
七、楚國銅器研究
關於銅器分類的思考
論楚國銅器的類型
楚鼎圖說
八、讀書偶記
灤平營坊村出土的獸面石人
三件有趣的繭形壺
說匱
王莽虎符石匱調查記
“五星出東方利中國”織錦上的文字和動物圖案
中國的水陸攻戰圖和亞述的水陸攻戰圖
格魯吉亞青銅帶飾上的鳥首羽人．
後記

李零

　　北京大學中文系教授，專注於先秦考古及古漢語研究，在出土簡帛、《孫子兵法》、中國古代方術等研究領域久負盛名。主要著作包括：《孫子古本研究》、《吳孫子發微》、《中國方術考》、《中國方術續考》、《郭店楚簡校讀記》、《花間一壺酒》、《兵以詐立》、《鑠古鑄今：考古發現和復古藝術》、《去聖乃得真孔子——《論語》縱橫談》**、《人往低處走——《老子》天下第一》**、《唯一的規則——《孫子》的鬥爭哲學》**，等等。

2017年6月2日 星期五

李零：我們的經典包括4本書： 《去聖乃得真孔子——《論語》縱橫談》**、《人往低處走——《老子》天下第一》**《死生有命 富貴在天：《周易》的自然哲學》《唯一的規則：《孫子》的鬥爭哲學》

2017年7月22日 星期六

李零：我的中國觀；何枝可依.....上博楚简三篇校读记.....

鈞特．葛拉斯 Gunter Grass《消逝的德國人》；2040年德國人口中移民將達三分之一

November 12, 2019, 9:59 pm

≫ Next: 《五十年來的美國》《美國的民主制度》 香港今日世界出版社部分出版品

≪ Previous: 李零《入山與出塞》2004到《波斯笔记》2019

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消逝的德國人
Kopfgeburten

作者： 鈞特．葛拉斯


原文作者： Gunter Grass
譯者： 張筱雲
出版社：時報出版
出版日期：2003


　　《消逝的德國人》是葛拉斯夫婦和導演福克.史倫道夫一九七九年訪問東南亞之前、當時、之後，所寫的散文劇本，可惜一直沒能拍成電影。內容敘述一對來自北德，在自民黨、社民黨相當活躍積極的教師夫婦前往亞洲遊歷的見聞與思索。表達了作者對於東南亞的貧苦、當時德國史特勞斯對抗施密特選戰的看法，以及對德國人口減少、科技迅速發展、核子威脅日益增加的徬徨及失望。 對於不看葛拉斯作品的讀者（如果有此類族群的話），這本專業書和散文，同時還差點拍成電影的混合體，無疑是充滿軟性、睿智、譏諷、幽默，適合作為入門的書，讀者可以從中得到完整的文學大師葛拉斯印象，包括他寫作時如何構思、佈局。

2040年德國人口中移民將達三分之一

移民問題研究專家稱，20年後，每3個德國人中就會有一個是移民。

（德國之聲中文網）德國聯邦勞工市場和職業研究所（IAB）移民問題部負責人布呂克爾（Herbert Brücker）在周一（11月5日）一期的《世界報》上表示，不出20年，德國大城市中，移民比重將升至最高70%。這位經濟學家認為，為滿足勞動力需求，德國未來必須向更多國家開放。

布呂克爾表示，"德國將變得更多彩。目前，德國人口中約有四分之一具移民背景，20年後，比例將是35%，也可能超過40%。"他指出，法蘭克福是個很好的例子，"在那裡，目前已是每兩個人中就有一個具移民背景。在柏林，比列約為35%。我們今天在大城市看到的情形未來將是整個國家的正常現象。在法蘭克福這樣的城市，移民的比重將在65%至70%之間。"

不過，布呂克爾強調，如果以為，未來德國人將成為"少數民族"，面對由移民組成的"多數"，那將是一種錯誤的看法。同時擔任柏林洪堡大學德國融入及移民實證研究所（BIM）所長的布呂克爾指出，"德國人將始終是遙遙領先的最大族群；移民本身各有不同，多姿多彩。一部分人是穆斯林，另一部分人信佛，多數人則是基督徒；一些人有學術文憑，另一些人則是幫工。"。

根據該研究所的計算結果，至2060年，德國每年需要淨移民40萬人，方能避免就業人口及經濟力量萎縮。布呂克爾指出，無論是涉及高質人才還是涉及受教育程度低的勞動力，在移民方面，德國要與他國競爭。他指出，很明顯，歐盟國家來德國的勞動力會越來越少，"來自羅馬尼亞和保加利亞等新加入歐盟的東歐國家、以及來自西班牙或葡萄牙的潛在移民數量日漸減少"，因此，德國必須擴大對西巴爾幹國家或烏克蘭等歐盟周邊國家的開放程度。

《五十年來的美國》《美國的民主制度》 香港今日世界出版社部分出版品

November 13, 2019, 12:49 am

≫ Next: 允晨開倉曬書 2019.12.16~21: Guy Sorman叢書

≪ Previous: 鈞特．葛拉斯 Gunter Grass《消逝的德國人》；2040年德國人口中移民將達三分之一

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 20世紀美國論(漢清講堂  2019年胡適紀念演講 2019年12月初)

聲明：正如英文可用Man 指男人或女人的一般人類 (如W. Edwards Deming的說法)；"馬克思"可指"馬克思與恩格斯" (如 Why Marx Was Right ByTerry Eagleton的聲明)，我們指的"20世紀"，也可指1880年~2019年，方便數據上的引用。

做為胡適之先生的粉絲，我期許自己每年在他生日時，作篇關於他的關懷或大作的"接下來"講"小文，在漢清講堂上發表。

2019年的胡適紀念演講，就選擇" 20世紀的美國論"，因為這是他最擅長和關心的主題之一。
他生前，關於美國的資料和知識，不像現在科技發達，這樣容易取得、接達 (accessible)。

1953~1962年，胡適之先生的美國簡介，主要是兩場演講：1. 聯合國中國同志會座談會：胡適 《五十年來的美國》1953；2.《美國的民主制度》1954。
和一篇書評《讀程天放先生的《美國論》後記》1960

胡適 《五十年來的美國》1953
https://hushihhc.blogspot.com/2019/10/1953.html
程天放(1899-1967)《美國論》1960 年再版等、讀程天放先生的《美國論》後記／胡適1960.4.16 完稿
https://hushihhc.blogspot.com/2019/11/1899-19671960-1960416.html


他們當時只是開了研究的第一道"入門"，就沒繼續下去。
然而，"美國論"這一主題，對於非專家的一般人，或許都是個大題目，資訊太多：譬如我們美天去紐約時報、CNN等大報的網站去，光是關於D. Trump總統的文章，就洋洋大觀。

我想接下他門的工作，位讀者做些鳥瞰中文文獻的工作。開始時，我打算採取"文獻檢討" (特別是書籍)的方式，來談"20世紀美國論"。



1950年代到1970年代， 香港今日世界出版社出版過數百本相關圖書，都屬於廣義的美國文明/美國文化(美國論)。品質、數量、涵蓋層面，都很精彩。
所以它們是我們討論的重要參考，可惜有許多圖書館都只藏小部分香港今日世界出版社出版品。

底下我做些鳥瞰中文文獻的工作。

美國的文化/文明

1.《美國文化》(法) Jean-Pierre FICHOU 著，宋亞克譯，台北：遠流，1993

2.程天放(1899-1967)《美國論》1960 年再版等、讀程天放先生的《美國論》後記／胡適1960.4.16 完稿    https://hushihhc.blogspot.com/2019/11/1899-19671960-1960416.html

3. 《美國的社會》THE AMERICAN SOCIETY, EDITED BY KENNETH S. LYNN, 香港今日世界出版社 1965

4.《美國賴以立國的文本》(Words That Make America Great 1999)：海南出版社，2000

5.《美國人的性格與文化》WHY WE BEHAVE LIKE AMERICANS BY BRADFORD SMITH 香港今日世界出版社, 1964

《》

《》

美國的歷史

《美國史》上下_THE PELICAN HISTORY OF THE UNITED STATES OF AMERICA BY HUGH BROGAN 1988, 台北：陽明管理發展中心，1990

 香港今日世界出版社採用兩書名：《美國通史》、《美國史綱 》 The Pocket History of the United States By Ａllan Nevins and Henry Steele Commager

紐約《先鋒論壇報》記載他的生平，有這一段值得我們想念的報導：
弗勒斯納八十歲時，決定到哥侖比亞大學去做兩個學生，在那兩年裏，他上了厄布約翰教授（Upjohn）的幾種美術史的功課，又上了納文斯教授 （Nevins）的美國史學文獻的功課。他自己說：“一個退休了的人的好工作，莫如教育。”可是厄布約翰教授對人說：“我的課堂上有了弗勒斯納先生這樣一個學生，常使我感覺得像一匹馬的馬鞍底下壓著一顆有刺的栗苞！”

                                                                     一九五九年十一月九日


《自由中國》 第二一卷十期 胡適 (1959)："記美國醫學教育與大學教育的改造者弗勒斯那納先生 (Abraham Flexner-- 1866-1959)

A Pocket History of the United States

著者: Allan Nevins 1890~1971、 Henry Steele Commager 1902~98、 Jeffrey Brandon Morris
出版日期：1992/

《美國簡史》AN OUTLINE OF AMERICAN HISTORY BY FRANCIS WHITNEY， 香港今日世界出版社，1965

《美國史話》上下，多人編，廣西師範大學出版社，2002

----
美國的政治、社會、法律、經濟；民主制度等

《美國的民主》 上卷 托克維爾(Alexis de Tocqueville,1805-1859)著 ; 秦修明譯 Tocqueville, Alexis de, 1805-1859. ;  1966.










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今日世界出版社 266


 11

1. 掌握航向 : 美國如何制訂政策 / 今日世界出版社編譯 [19--?]



2 美國政府簡介/ 斯克羅德(Schroeder, Richard C.- )撰; 今日世界出版社編譯Schroeder, Richard C.- ; 斯克羅德(Schroeder, Richard C.- ) ; 民67. 可在辜振甫圖書館



7 現代政治學/ GM 卡德(Gwendolen M. Carter),JH 赫茲(John H. Herz)著; 李誥譯Carter, Gwendolen Margaret, 1906- ; 卡德(Carter, Gwendolen Margaret, 1906- ) ; 1964(民53)

13 美國如何制定法律 查爾斯・J・津恩著 ; 陳若桓譯 Zinn, Charles J. 1976.
 29 美國法律二十講 Talks on American law : VOA forum lectures / [夏樂德・伯曼編] ; 陳若桓譯 1975.


 21 美國現代政治家 威廉・懷德著 ; 趙銘譯 White, William Smith. 1974.



22 杜魯門總統任內錄 By Cabell Phillips ; 李宜培譯 Phillips, Cabell B. H. 1970.



 23 美國經濟制度 葛模, 蓋格合著 ; 饒餘慶譯 Colm, Gerhard, 1897-1968. 1969.



 3 新世界的音樂/ 蔡斯(Chase, Gilbert)撰; 簡而淸譯Chase, Gilbert, 1906-1992. ; 蔡斯(Chase, Gilbert, 1906-1992) ; 民64[1975] 可在總圖書館總圖2F藝術資料區(910.9 4442)獲得



 4 美國名家書信選集 / 方德休編 ; 張心漪譯 1988. 美國文化叢書 ; Landmarks of American writing.

6 美國商界先驅/ 史拉皮(Slappey, Sterling G.)編Slappey, Sterling G. ; 史拉皮(Slappey,Sterling G.) ; 民73[1984] 可在總圖書館總圖4F科技資料區( 499.52 5054)獲得




8 森林和海洋 / 貝茲著 ; 丘佩華譯 Bates, Marston, 1906-1974. ; 貝茲 (Bates, Marston, 1906-1974) ; 1973.


 12 經濟學與科學 肯尼斯・博爾丁著 ; 丁寒譯 Boulding, Kenneth E. (Kenneth Ewart), 1910-1993. 1977.



  20 自力更生 Give us the tools / [韋士嘉地著 ; 朱廉譯] Viscardi, Henry, 1912-2004. 1978.



38 科技時代與科技人 費基斯著 祝振華譯 1977.

 28 科學的貧乏 布什[布斯]著 ; 李克譯 ; 郝履成校訂 Bush, Vannevar, 1890-1974. 1975.


 30 新聞實務與原則 [賀亨柏著] ; 歐陽醇, 徐啓明合譯 ; 鈕先鍾增訂 Hohenberg, John. 1977.



 31 力爭上游：布克爾·華盛頓自傳 布克爾·華盛頓著 思果譯 1961.




 33 美國的企業組織 查理德·巴伯著 汪家麟譯 1984.


63 福自太空來 弗雷德雷克等著 1975.

 64 An outline of American geography = Meiguo di li shu lue / [Ye'er N Miteman zhu bian] ; Meiguo xin wen chu bian yi.; 美國地理述略/ [耶爾・N・密特曼主編] ; 美國新聞處編譯1976.



 65 革命新論 / (法)雷雅爾(Jean-Francois Revel)著 ; 蔡理浤譯 Revel,, Jean-Francois. ; 雷威爾 (Revel, Jean-Francois) ; 1973[民62]



 67 音樂欣賞 伯恩斯坦著 ; 林聲翕譯 Bernstein, Leonard, 1918-1990. 1989.
 46 不完美的社會 吉拉斯著 葉蒼譯 1976.

 47 林海《甦醒的大地》三部曲之一 康拉德·李希特著 湯新楣譯 1978.

 48 西征記 皮逖著 湯新楣譯 1975.



 49 南極的故事 沙利文著 易家願譯 1976.

50 相對論入門 巴湼特 1977.

51 一、二、三——唱！美國傳統民族 美國新聞處編 韋瀚章譯 197

53 現代經濟成長 西蒙·庫茨內斯著 林山木譯 1979.
57 軍備管制與國際政治 大衛·V·愛德華斯著 鐵穆真譯 1976.
 59 現代政治學 G·M·卡德 J·H·赫茲著 李誥譯 1964
 72 傳播媒體之功能 = The role of the media / 梅爾.奧廷傑(Mal Oettinger),約翰.施蒂(John Stirn),瓦萊裡.克魯策爾(Valerie Kreutzer)編 1985.
 77  世界大變動 閔凡路著 閔凡路 1993.  ; 今日世界叢書




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 9 野性的呼喚 / 傑克.倫敦著 ; 湯新楣譯 London, Jack, 1876-1916. ; 倫敦 (London, Jack, 1876-1916) ; 1976.



10 小酒館的悲歌 / 卡森.麥克勒絲(Carson McCullers)著 ; 金聖華譯 McCullers, Carson. ; 麥克勒絲 (McCullers, Carson, 1917-1967) ; 1975.

14 開墾的人 維娜・凱塞著 ; 湯新楣譯 Cather, Willa, 1873-1947. 1975



15 大街 Sinclair Lewis著 ; 先信譯 Lewis, Sinclair, 1885-1951. ; 路易斯 (Lewis, Sinclair, 1885-1951) ; 1976.



 16 佛洛斯特的詩 Comprehensive study guide to seven poems by Robert Frost / 主編 李達三, 談德義 ; 編輯 田維新 等 Frost, Robert, 1874-1963. 1977.



17 狄瑾蓀的詩Comprehensive study guide to twenty poems by Emily Dickinson / 李達三, 談德義主編; 田維新等編輯Dickinson, Emily, 1830-1886. ; 狄金生(Dickinson, Emily, 1830-1886) ; 1977



 18 惠特曼的詩 Comprehensive study guide to Walt Whitman's "When Lilacs last in the dooryard blomm'd" and "A noiseless patient spider" / 主編李達三, 談德義 ; 編輯田維新等 1977.


 24 卡波特小說集 Truman Capote / 湯新楣, 顔元叔合譯 Capote, Truman, 1924-1984. 1978. 美國作家作品選.



 25 小城故事 [著者S. 安德森 ; 譯者吳明實] Anderson, Sherwood, 1876-1941. ; 安德生 (Anderson, Sherwood, 1876-1941) ; 1975.



 26 夥計 瑪拉末著 ; 劉紹銘譯 Malamud, Bernard. 1977.



27 鷓鴣鎮上的杜鵑花季 奧康納短篇小說選 = Three short stories by Flannery O'Conner / 溫健騮譯 O'Connor, Flannery. 1975.


32 開墾的人 凱塞著 1975.

 34 伊丹·傅羅姆 艾蒂斯·華頓著 王鎮國譯 1975.



 35 夢中日月長 戴恩·布西科爾特改編 1974.

36 何索 梭爾·貝羅著 顏元叔 劉紹銘合譯 1977.



 37 花落葉猶青 林瑞茲著 張蘊錦譯 1960.





 39 雨王享德森 梭爾·貝羅著 卡宇理譯 1979.

 40 城市和城市問題 理查德·伊爾斯等編著 古潛譯 1977.



41 原野長宵 維娜·凱塞著 湯新楣譯 1974.

 42 美國旅遊便覽 艾莉森·R·拉尼爾著 李誥譯 1978.



 43 名家散文選讀 第二卷 夏濟安編譯 1979.

44 尤金·奧尼爾著 ; 喬志高譯 O'Neill, Eugene, 1888-1953. 1973.

 45 琉璃集 田納西·威廉斯著 1977.



 52 短篇小說選讀第四輯 傑克遜等著 綠騎士等譯 1977.



 54 奧亨利短篇小說選 中英對照 奧亨利著 張曼儀譯 1968.

 55 湖濱散記 H.D.梭羅著 吳明實譯 1978.

56 源遠流長 （中英對照） 薛盛澤著 思果譯 1975.


 58 短篇小說選讀第一輯 班爾特等著 湯新楣等譯 1972.
61 富蘭克林自傳 （第十一版） 黃正清譯 1977.

 60 瑪格麗特·弗萊明 詹姆斯 A·何恩著 崔文瑜譯 1974.





62 獵豹記 克拉克著 湯新楣譯 1976.



69 小鎮 湯新楣譯 Richter, Conrad, 1890-1968. 1975.

 70 狂戀 陳礎宏譯 英奇, 1913- 1977.



73 威廉.福克納/ 歐康納(William Van O'Conner)著; 田維新譯O'Conner, William Van. ; 歐康納(O'Conner, William Van) ; 1984[民73] University of minnesota pamphlets on American writers. ; 美國作家專輯



.



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今日世界出版社 266

 掌握航向 : 美國如何制訂政策 / 今日世界出版社編譯 [19--?]

2   美國政府簡介 / 斯克羅德(Schroeder, Richard C.- )撰 ; 今日世界出版社編譯 Schroeder, Richard C.- ; 斯克羅德 (Schroeder, Richard C.- ) ; 民67. 可在 辜振甫圖書館

 3  新世界的音樂 / 蔡斯(Chase, Gilbert)撰 ; 簡而淸譯 Chase, Gilbert, 1906-1992. ; 蔡斯 (Chase, Gilbert, 1906-1992) ; 民64[1975] 可在 總圖書館 總圖2F藝術資料區 (910.9 4442)獲得

 4  美国名家书信选集 / 方德休编 ; 张心漪译 1988. 美國文化叢書 ; Landmarks of American writing.
6   美國商界先驅 / 史拉皮(Slappey, Sterling G.)編 Slappey, Sterling G. ; 史拉皮 (Slappey,Sterling G.) ; 民73[1984] 可在 總圖書館 總圖4F科技資料區 (499.52 5054)獲得

7 現代政治學 / G. M. 卡德(Gwendolen M. Carter),J. H. 赫茲(John H. Herz)著 ; 李誥譯 Carter, Gwendolen Margaret, 1906- ; 卡德 (Carter, Gwendolen Margaret, 1906- ) ; 1964(民53)

8   森林和海洋 / 貝茲著 ; 丘佩華譯 Bates, Marston, 1906-1974. ; 貝茲 (Bates, Marston, 1906-1974) ; 1973.
 9  野性的呼喚 / 傑克.倫敦著 ; 湯新楣譯 London, Jack, 1876-1916. ; 倫敦 (London, Jack, 1876-1916) ; 1976.

10  圖書 小酒館的悲歌 / 卡森.麥克勒絲(Carson McCullers)著 ; 金聖華譯 McCullers, Carson. ; 麥克勒絲 (McCullers, Carson, 1917-1967) ; 1975.

 11   美國的民主 上卷 托克維爾(Alexis de Tocqueville,1805-1859)著 ; 秦修明譯 Tocqueville, Alexis de, 1805-1859. ; 托克維爾 (Alexis de Tocqueville,1805-1859) ; 1966.

 12   經濟學與科學 肯尼斯・博爾丁著 ; 丁寒譯 Boulding, Kenneth E. (Kenneth Ewart), 1910-1993. 1977.

13  美國如何制定法律 查爾斯・J・津恩著 ; 陳若桓譯 Zinn, Charles J. 1976.

14  圖書 開墾的人 維娜・凱塞著 ; 湯新楣譯 Cather, Willa, 1873-1947. 1975

15   大街 Sinclair Lewis著 ; 先信譯 Lewis, Sinclair, 1885-1951. ; 路易斯 (Lewis, Sinclair, 1885-1951) ; 1976.

 16  佛洛斯特的詩 Comprehensive study guide to seven poems by Robert Frost / 主編 李達三, 談德義 ; 編輯 田維新 等 Frost, Robert, 1874-1963. 1977.

17  圖書 狄瑾蓀的詩 Comprehensive study guide to twenty poems by Emily Dickinson / 李達三, 談德義主編 ; 田維新等編輯 Dickinson, Emily, 1830-1886. ; 狄金生 (Dickinson, Emily, 1830-1886) ; 1977

 18 惠特曼的詩 Comprehensive study guide to Walt Whitman's "When Lilacs last in the dooryard blomm'd" and "A noiseless patient spider" / 主編李達三, 談德義 ; 編輯田維新等 1977.

  20   自力更生 Give us the tools / [韋士嘉地著 ; 朱廉譯] Viscardi, Henry, 1912-2004. 1978.

 21   美國現代政治家 威廉・懷德著 ; 趙銘譯 White, William Smith. 1974.

22  杜魯門總統任內錄 By Cabell Phillips ; 李宜培譯 Phillips, Cabell B. H. 1970.

 23  美國經濟制度 葛模, 蓋格合著 ; 饒餘慶譯 Colm, Gerhard, 1897-1968. 1969.

 24   卡波特小說集 Truman Capote / 湯新楣, 顔元叔合譯 Capote, Truman, 1924-1984. 1978.  美國作家作品選.

 25  小城故事 [著者S. 安德森 ; 譯者吳明實] Anderson, Sherwood, 1876-1941. ; 安德生 (Anderson, Sherwood, 1876-1941) ; 1975.

 26  夥計 瑪拉末著 ; 劉紹銘譯 Malamud, Bernard. 1977.

27  鷓鴣鎮上的杜鵑花季 奥康納短篇小說選 = Three short stories by Flannery O'Conner / 溫健騮譯 O'Connor, Flannery. 1975.

 28   科學的貧乏 布什[布斯]著 ; 李克譯 ; 郝履成校訂 Bush, Vannevar, 1890-1974. 1975.


 29  美國法律二十講 Talks on American law : VOA forum lectures / [夏樂德・伯曼編] ; 陳若桓譯 1975.

 30  新聞實務與原則 [賀亨柏著] ; 歐陽醇, 徐啓明合譯 ; 鈕先鍾增訂 Hohenberg, John. 1977.

 31   力争上游：布克尔·华盛顿自传 布克尔·华盛顿著 思果译 1961.

32   开垦的人 凯塞著 1975.
 33  美国的企业组织 查理德·巴伯著 汪家麟译 1984.
 34  伊丹·傅罗姆 艾蒂斯·华顿著 王镇国译 1975.

 35   梦中日月长 戴恩·布西科尔特改编 1974. 
36 何索 梭尔·贝罗著 颜元叔 刘绍铭合译 1977.

 37   花落叶犹青 林瑞兹著 张蕴锦译 1960.
38   科技时代与科技人 费基斯著 祝振华译 1977.

 39 雨王享德森 梭尔·贝罗著 卡宇理译 1979.
 40  城市和城市问题 理查德·伊尔斯等编著 古潜译 1977.

41   原野长宵 维娜·凯塞著 汤新楣译 1974.
 42   美国旅沋便览 艾莉森·R·拉尼尔著 李诰译 1978.

 43   名家散文选读 第二卷 夏济安编译 1979.
44    尤金·奥尼尔著 ; 乔志高译 O'Neill, Eugene, 1888-1953. 1973.
 45  琉璃集 田纳西·威廉斯著 1977.

 46   不完美的社会 吉拉斯著 叶苍译 1976.
 47 林海《苏醒的大地》三部曲之一 康拉德·李希特著 汤新楣译 1978.
 48   西征记 皮逖著 汤新楣译 1975.

 49   南极的故事 沙利文著 易家愿译 1976.
50   相对论入门 巴湼特 1977.
51  一、二、三——唱！ 美国传统民族 美国新闻处编 韦瀚章译 1978.

 52 短篇小说选读第四辑 杰克逊等著 绿骑士等译 1977.
 53  现代经济成长 西蒙·库茨内斯著 林山木译 1979.
 54 奥亨利短篇小说选 中英对照 奥亨利著 张曼仪译 1968.
 55   湖滨散记 H.D.梭罗著 吴明实译 1978.
56  源远流长 （中英对照） 薛盛泽著 思果译 1975.
57   军备管制与国际政治 大卫·V·爱德华斯著 铁穆真译 1976.
 58  短篇小说选读第一辑 班尔特等著 汤新楣等译 1972.
 59   现代政治学 G·M·卡德 J·H·赫兹著 李诰译 1964
 60  圖書 玛格丽特·弗莱明 詹姆斯 A·何恩著 崔文瑜译 1974.

61  富兰克林自传 （第十一版） 黄正清译 1977.
62   猎豹记 克拉克著 汤新楣译 1976.
63  福自太空来 弗雷德雷克等著 1975.
 64   An outline of American geography = Meiguo di li shu lue / [Ye'er N Miteman zhu bian] ; Meiguo xin wen chu bian yi.; 美國地理述略 / [耶爾・N・密特曼主編] ; 美國新聞處編譯 1976.

 65 革命新論 / (法)雷雅爾(Jean-Francois Revel)著 ; 蔡理浤譯 Revel,, Jean-Francois. ; 雷威爾 (Revel, Jean-Francois) ; 1973[民62]

 67   音乐欣赏 伯恩斯坦著 ; 林声翕译 Bernstein, Leonard, 1918-1990. 1989.
69   小鎮 湯新楣譯 Richter, Conrad, 1890-1968. 1975.
 70  狂戀 陳礎宏譯 英奇, 1913- 1977.
 72   傳播媒體之功能 = The role of the media / 梅爾.奧廷傑(Mal Oettinger),約翰.施蒂(John Stirn),瓦萊里.克魯策爾(Valerie Kreutzer)編 1985.

73   威廉.福克納 / 歐康納(William Van O'Conner)著 ; 田維新譯 O'Conner, William Van. ; 歐康納 (O'Conner, William Van) ; 1984[民73] University of minnesota pamphlets on American writers. ; 美國作家專輯

. 77  圖書 世界大变动 闵凡路著 閔凡路 1993. 超星數字圖書館 ; 今日世界丛书







***
78  圖書 今日世界 張睿壯 ... [等]編著 1982. 超星數字圖書館 ; 學習之友 線上可獲得  館藏已從我的最愛中刪除 79  圖書 今日世界 张睿壮等编著 1987. 超星數字圖書館 ; 学习之友 線上可獲得  館藏已從我的最愛中刪除 80  圖書 今日世界 张睿壮 杨洁勉等 1984. 超星數字圖書館 線上可獲得  館藏已從我的最愛中刪除 頁碼 9 81  圖書 震撼乾坤的辯護 世界著名辯護詞精選 / 呼延南主編 1993. 超星數字圖書館 線上可獲得  館藏已從我的最愛中刪除 82  圖書 世界著名敎育家 中央敎育科學硏究所比較敎育硏究室 1989. 超星數字圖書館 ; 今日世界比較敎育叢書 線上可獲得  館藏已從我的最愛中刪除 83  圖書 今日英语. 第6册 : 文学选读 = English for Today : Book six:Literature in English 陈卞知等译 1992. 超星數字圖書館 線上可獲得  館藏已從我的最愛中刪除 84  圖書 世界经济十大趋势 李长久著 李, 長久 1993. 超星數字圖書館 ; 今日世界丛书 線上可獲得  館藏已從我的最愛中刪除 85  圖書 世界职业技朮敎育 中央敎育科学研究所, 比较敎育研究室 1988. 超星數字圖書館 ; 今日世界比较敎育丛书 線上可獲得  館藏已從我的最愛中刪除 86  圖書 世界学前敎育研究 中央敎育科学研究所比较敎育研究室 1989. 超星數字圖書館 ; 今日世界比较敎育丛书 線上可獲得  館藏已從我的最愛中刪除 87  圖書 世界第二经济大国日本 张可喜著 張, 可喜 1993. 超星數字圖書館 ; 今日世界丛书 線上可獲得  館藏已從我的最愛中刪除 88  圖書 今日世界之最 主编刘世同, 谢剑, 方之 ; 编译李铁瑛 ... [等] 1989. 超星數字圖書館 線上可獲得  館藏已從我的最愛中刪除 89  圖書 世界敎育思想发展探略 中央敎育科学硏究所比较敎育硏究室 1989. 超星數字圖書館 ; 今日世界比较敎育丛书 線上可獲得  館藏已從我的最愛中刪除 90  圖書 世界普通教育的改革趋势 中央教育科学研究所比较教育研究室 1989. 超星數字圖書館 ; 今日世界比较教育丛书 線上可獲得  館藏已從我的最愛中刪除 頁碼 9 調整檢索結果 排序規則: 相關性 僅顯示 圖書館館藏 線上資源 出版年 自 1932 to 2018 調整 資源類型 圖書 158 錄影資料 91 錄音資料 8 手稿／學位論文 6 期刊 2 顯示更多 主題 作者/創建者 典藏分館/系館 語言
 66  成吉思汗与今日世界之形成 / 杰克.威泽弗德(Jack Weatherford)著 ; 温海清,姚建根译 Weatherford, J. McIver. ; 威澤弗德 (Weatherford, J. Mciver) ; 2006. 现代图书馆 可在 總圖書館 總圖2F人社資料區 (782.857 5346 5335)獲得

 68  世界文化史 : 增订版 = A cultural history of the world / 裔昭印主编 2010. 博雅大学堂. 历史 可在 總圖書館 總圖2F人社資料區 (713 4460-21 2010)獲得  館藏已從我的最愛中刪除

75  圖書 跛足的白熊 : 今日俄军 : 陷足泥淖的庞然巨兽 1997. 超星數字圖書館 ; 世界军事列强博览 76  圖書 垂老的雄狮 : 今日英军 : 大英帝国的一脉余晖 1997

74  圖書 重握武士刀 今日日本 : 悄然显形的军国幽灵 / [王湘穗, 乔良主编 ; 闻轩撰稿] 1997. 超星數字圖書館 ; 世界军事列强博览 線上可獲得  館藏已從我的最愛中刪除

---

允晨開倉曬書 2019.12.16~21: Guy Sorman叢書

November 13, 2019, 8:01 pm

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《美國製造－凝視美國文明》、《我為何成為美國公民；我的猶太人旅程》。
Guy Sorman來台數次，我見過2次。他 是少數熟知法國總統顧問"業務"與地方政治運作的知識分子。
他認為美國是獨特的，所以西方國家，可分為歐洲的與美國的。從60年代起，過50多年，美國已經改頭換面了。......

廖志峰

大約十年前
我再也受不了每隔幾年就要搬動倉庫的庫存書
而且總是左腳右腳揹著書上樓下樓[老公寓]
一次移動都要經過幾週整頓
體力實在難以負荷
終於向老闆開口
我要買允晨的倉庫
不少人質疑
最後終於買成了[當然是貸款]
從此我揹上了公司的貸款
然後我們有了一間有電梯的倉庫了
終於啊
不過
後來發現買在頂樓的倉庫有新的排水和漏水問題
只能展開長期的維修了
我想我當年夠年輕衝動才會做這樣的決定

今年是來到允晨的第三十年
我想就來辦一次開倉曬書的活動
為期一週
不確定以後會不會再辦
就試一次吧
歡迎有興趣一訪的朋友

[最近的捷運站是新蘆線的景安站]

【看見自由的力量──第56屆金馬獎專題報導】

November 14, 2019, 7:27 pm

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報導者 The Reporter

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Photography. A Concise History By Ian Jeffrey 攝影簡史

November 14, 2019, 8:46 pm

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 攝影簡史(簡), Ian Jeffrey, 三聯書店,

作  者:(英)伊安·杰弗里(Ian Jeffrey) 著；陆汉臻,景晨 译

定  价:98

出 版 社:浙江摄影出版社

出版日期:2018年06月01日

页  数:272

装  帧:平装

ISBN:9787551421539

●序言
●章 观察大自然
●第二章 瞬时摄影
●第三章 纪实的意义
●第四章 小世界
●第五章 表象之外的真理
●第六章 展望未来
●第七章 欧洲社会和美国自然
●第八章 美国社会
●第九章 人类境况
●第十章 自我肯定，自我缺席
●参考书目
●摄影发展简明大事记
●图片版权

内容简介

对摄影的研究一般容易流于对摄影技术发展史的论述，而伊安·杰弗里著的《摄影简史》以简明的方式评述了重要的摄影历史，探讨了摄影的本质，以及摄影与其他视觉艺术形式之间的关系，解释了评判照片高下的标准，并分析了摄影图象的特殊性。这本精彩的研究著作，借助那些出自很伟大的摄影家之手的经典作品(从摄影之父福克斯·塔尔博特到20世纪的摄影大师)，为我们提供了解决这些重要问题的一份独特指南。

(英)伊安·杰弗里(Ian Jeffrey) 著；陆汉臻,景晨 译

伊安·杰弗里是有名的摄影史专家。先后毕业于曼彻斯特大学历史专业和伦敦考特尔德研究院意大利文艺复兴艺术专业。1970至1987年司，担任伦敦大学金史密斯学院艺术史系主任。后在布拉格中欧大学教授艺术史三年，从1990年代中期开始，任教于金史密斯学院，为摄影师讲授研究生课程。他为到金史密斯学院学习的年轻艺术家们编写了图录《天寒地冻》(1988年)，为英国布拉德福德的国立摄影、电影和电视博物馆的重开而编写图录，另著有《摄影手册》(1998年)、《修改》(1999)等。他组织了多场影展，其中包括在伦敦芭比肯艺术中心举办的“比尔布兰特摄影作品．1928 1983年”(1993年)，伊安杰弗里编辑等

Photography. A Concise History Ian Jeffrey Thames & Hudson

A Concise History, Ian Jeffrey, Thames & Hudson.
Photography: a concise history

Ian Jeffrey
Oxford University Press, 1981/02/01 - 248 ページ

目次


Introduction 7


Instantaneous Pictures 28




Documentary Meanings 48


著作権


他の 8 セクションは表示されていません

多く使われている語句

Adamson Alfred Stieglitz American Photographs ancient Aperture appear Arbus architecture artists Atget attention audience August Sander beautiful became began Bill Brandt Brassai Britain British camera Capa Cartier-Bresson century colour contemporaries culture Curtis dark Diane Arbus documentary early Edward Weston Egypt Emerson Eugene Eugene Atget Evans's evidence exhibition F.S.A. photograph Fenton film Fox Talbot France French Frith Germaine Krull German Henri Henri Cartier-Bresson Hine Hippolyte Bayard history of photography human interest illustrated images imagined Indian instantaneous Julia Margaret Cameron Kertesz landscape Lewis Hine light London look magazine medium Moholy-Nagy Museum of Modern Nadar onwards painter painting Paris particular Paul Strand peasants Pencil of Nature photo-journalists photogravure pictorial picture-making plates portraits printing published reporter Robert seventies shadows sixties social society sort stereoscopic street style Surrealist survey Teynard thirties Thomson took pictures traditional trees twenties Walker Evans White William York

書誌情報

書籍名	Photography: a concise history World of art World of art library
著者	Ian Jeffrey
版	イラスト付き, 再版
出版社	Oxford University Press, 1981
ISBN	0195203550, 9780195203554
ページ数	248 ページ

ON PHOTOGRAPHY SUSAN SONTAG論攝影

November 14, 2019, 8:54 pm

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On Photography

On Photography is a 1977 collection of essays by Susan Sontag. It originally appeared as a series of essays in the New York Review of Books between 1973 and 1977.

Contents

• 1Contents
• 2Criticism and acclaim
• 3Editions
• 4References
• 5External links

Contents[edit]

In the book, Sontag expresses her views on the history and present-day role of photography in capitalist societies as of the 1970s. Sontag discusses many examples of modern photography. Among these, she contrasts Diane Arbus's work with that of Depression-era documentary photography commissioned by the Farm Security Administration.

She also explores the history of American photography in relation to the idealistic notions of America put forth by Walt Whitman and traces these ideas through to the increasingly cynical aesthetic notions of the 1970s, particularly in relation to Arbus and Andy Warhol.

Sontag argues that the proliferation of photographic images had begun to establish within people a "chronic voyeuristic relation"^[1] to the world around them. Among the consequences of photography is that the meaning of all events is leveled and made equal. This idea did not originate with Sontag, who often synthesized European cultural thinkers with her particular eye toward the United States.

As she argues, perhaps originally with regard to photography, the medium fostered an attitude of anti-intervention. Sontag says that the individual who seeks to record cannot intervene, and that the person who intervenes cannot then faithfully record, for the two aims contradict each other. In this context, she discusses in some depth the relationship of photography to politics.

Criticism and acclaim[edit]

On Photography won the National Book Critics Circle Award for 1977 and was selected among the top 20 books of 1977 by the editors of the New York Times Book Review.

In 1977, William H. Gass, writing in The New York Times, said the book "shall surely stand near the beginning of all our thoughts upon the subject" of photography.^[2]

In a 1998 appraisal of the work, Michael Starenko, wrote in Afterimage that "On Photography has become so deeply absorbed into this discourse that Sontag's claims about photography, as well as her mode of argument, have become part of the rhetorical 'tool kit' that photography theorists and critics carry around in their heads."^[3] He added that "no other photography book, not even The Family of Man (1955), which sold four million copies before finally going out of print in 1978, received a wider range of press coverage than On Photography." ^[4]

Sontag's work is literary and polemical rather than academic. It includes no bibliography, and few notes. There is little sustained analysis of the work of any particular photographer and is not in any sense a research project as often written by doctoral students. For example, in her discussion of The Family of Man exhibition she quotes almost word-for-word Roland Barthes' critique in his book Mythologies, without acknowledgement; "By purporting to show that individuals are born, work, laugh, and die everywhere in the same way, "The Family of Man" denies the determining weight of history - of genuine and historically embedded differences, injustices, and conflicts." Many of the reviews from the world of art photography that followed On Photography at the time of its publication were skeptical and often hostile, such as those of Colin L. Westerbeck and Michael Lesy.

In 2003, Sontag published a partial refutation of the opinions she espoused in On Photography in her book Regarding the Pain of Others. This book may be considered as a postscript or addition to On Photography. Sontag's publishing history includes a similar sequence with regard to her work Illness as Metaphor from the 1970s and AIDS and Its Metaphors a decade later, which included an expansion of ideas contained in the earlier work.

論攝影
ON PHOTOGRAPHY

作者  ／  SONTAG, SUSAN 蘇珊．桑塔格

譯者  ／  黃翰荻

出版社 ／ 唐山；正港資訊文化事業有限公司

出版日期 ／ 1997/10/01

商品語言 ／ 中文/繁體

裝訂 ／ 平裝

內容簡介

從一開始，攝影便指向了捕捉最大可數目的題材，可是繪畫從沒有這麼帝國主義式的視野，後來攝影科技產業化的實現，乃是因為攝影在一開始時便與生俱來的許諾──以「譯成影像」的方式，「平等」一切經驗。

攝影家被想成一位銳利但不帶干擾性質的觀察者──一位書記而非詩人。但是當人們很快發現，沒有兩個人能就同一件事拍出相同的照片，相機能夠提供非個人的客觀影像的臆想，便向「相片不僅證明那兒存在著怎樣的東西，而且是某個個人看見了什麼」以及「照片並非僅是記錄，而且是一種對於世界的評價」這樣的事實投降。

攝影影像的終極智慧是說：「那是表面。現在，想，或者更正確地說──感覺，或用你的直覺去體會、捕捉，在那之上的是什麼東？如果它看起來是這個樣子，那麼真正的現實會是怎麼樣？」照片是對懷疑、推論和幻想的無盡邀請，它本身無法解釋任何事情。

On Photography READ AN EXCERPT ________________________________________________________

Winner of the National Book Critics' Circle Award for Criticism (1977) "Susan Sontag has written a book of great importance and originality. . . . All future discussion or analysis of the role of photography in the affluent mass-media societies is now bound to begin with her book." —John Berger "After Susan Sontag, photography must be written about not only as a force in the arts, but as one that is increasingly powerful in the nature and destiny of our global society." —Newsweek "Not many photographs are worth a thousand of (Susan Sontag's) words." —Robert Hughes, Time Magazine "On Photography is to my mind the most original and illuminating study of the subject." —Calvin Trillin, The New Yorker "Every page of On Photography raises important and exciting questions about its subject and raises them in the best way." —The New York Times Book Review "A brilliant analysis of the profound changes photographic images have been made in our way of looking at the world and at ourselves over the last 140 years." —The Washington Post Book Worldy

Summer and Smoke By Tennessee Williams 夏日煙雲

November 14, 2019, 10:25 pm

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 Summer and Smoke By Tennessee Williams 夏日煙雲

夏日煙雲 香港：今日世界，1981

 POSTED INNEW YORK THEATER, OFF-BROADWAY

Summer and Smoke Review: Marin Ireland in Tennessee Williams’ Play About Longing

 NEW YORK THEATER  MAY 5, 2018  LEAVE A COMMENT

“Summer and Smoke,” Tennessee Williams’ ripe Southern Gothic tale about a preacher’s daughter and her lifelong longing for the doctor’s son next door, is being given a minimalist co-production by  the Classic Stage Company and the Transport Group, which feels neither classic nor transporting.

It seems clear what director Jake Cummings III, Transport’s artistic director, is trying to do (and if it weren’t clear, it would be after reading his note in the program): He wants to stage the play in such a way as to “return the focus back on the acting and writing.” But ironically the staging has the opposite effect.

The writing is vintage if second-tier Williams, and the production has a fine 12-member cast. The clear standout is Marin Ireland (Ironbound, Reasons to be Happy), offering another performance that allows us intimate access to a character’s vulnerability. Here she is Alma Winemiller, who from the age of 10 (as we see in the prologue), has been entranced by her reckless neighbor, John Buchanan (Nathan Darrow.)  By the summer of 1916 in the Mississippi town of Glorious Hill,  Alma, whose name is Spanish for soul, has become what she sees as an upright and spiritual being, busying herself with parish duties and intellectual teas (an example of which, a spot-on parody, we witness.) But she is also anxious, prone to panic attacks, and repressed; town gossips consider her affected and call her an old maid, though she’s only in her twenties. (I was especially drawn to Tina Johnson as the worst of the gossips, the delightfully blunt, hilarious Mrs. Bassett.) Meanwhile, John has grown up to follow his father in becoming a doctor, albeit reluctantly, but, though he cuts a dashing figure in his spotless white suit, he is also a hedonist – a gambler, a drinker and a womanizer.  As he’s done since childhood, John teases, taunts, embarrasses Alma. As she’s done since childhood, she pines for John.

The playwright sets up their differences unsubtly and symbolically – she is of the soul, he of the flesh; she visits the town’s stone fountain, presided over by a winged angel entitled Eternity; he displays an anatomy chart. (The play was originally entitled “Chart of Anatomy.”)  When he tries to seduce her, she primly rejects him.  But Williams also lets us see that this freighted connection is both important and frustrating to John as well as Alma, and then the playwright does something intriguing: The characters in effect switch personas.  As Alma confesses to John: “The girl who said “no,” she doesn’t exist any more, she died last summer — suffocated in smoke from something on fire inside her.“

It’s a heartbreaking speech and Ireland’s delivery of it lets us see that fire, and that smoke, and how she suffers.

The writing and the acting would certainly be more affecting in the CSC/Transport production, however, if it weren’t for the distraction of the staging.

Designer Dane Laffrey’s set looks like something out of a low-budget sci-fi movie about life in a spaceship. It’s a plain white platform on the floor, beneath a similar slab of white, functioning as a low-hanging ceiling.  The platform is bare except for two pictures at opposite ends. On one end is a framed photograph on an easel of that stone statue entitled Eternity. On the other end on its own easel is an anatomy chart. The set is otherwise bare except for the six old chairs that the characters bring on the stage to sit in. The only prop that I recall is the gun in Papa’s hands. Everything else, some of which are prominently mentioned – tea sets, handkerchiefs, veils, plumed hat, parasol, stethoscope, water from the fountain – are mimed.

It doesn’t work for me – in part, I think, because the action is therefore removed from the overheated, rococo atmosphere of a small Southern town that helps explain its inhabitants’ behavior. There may be a less intellectual reason as well. For this production, audience members at CSC are seated on three sides of the platform, and proof to me of a hunger for more visual stimulation was how much time I spent looking at the faces of the theatergoers across from me.

“Summer and Smoke” appeared on Broadway in 1948 shortly after “The Glass Menagerie” and “A Streetcar Named Desire” but, unlike those massive hits, ran for only three months. It’s true that its 1952 revival at Circle in the Square downtown, starring Geraldine Page, is said to have launched  Off-Broadway. (Page also starred in the 1961 movie.) But “Summer and Smoke” has some flaws that are hard to ignore today, including a melodramatic turn in the plot that depends on the racist depiction of a Mexican spitfire, Rosa and, her homicidal casino owner father Papa Gonzales.  Williams himself tacitly acknowledged the play’s shortcomings by rewriting it two decades later, and giving it a new title, “Eccentricities of a Nightingale.”  Yet, if it’s not one of Williams’ great plays, there are echoes of those plays throughout. Alma Winemiller could almost be the young woman who is forced out of her small town, and becomes Blanche Dubois.

Click on any photograph by Carol Rosegg to see it enlarged.

Summer and Smoke

At Classic Stage Company

Written by Tennessee Williams; Directed by Jack Cummings III

Set design is by Dane Laffrey, costume design by Kathryn Rohe, lighting design by R. Lee Kennedy and sound design by Walter Trarbach.  Original music by Michael John LaChiusa.

Cast: Glenna Brucken (Rosemary), Phillip Clark (Dr. Buchanan), Nathan Darrow (John Buchanan), Hannah Elless (Nellie Ewell), Elena Hurst (Rosa Gonzales), Marin Ireland (Alma Winemiller), Tina Johnson (Mrs. Bassett), Gerardo Rodriguez (Papa Gonzales), T. Ryder Smith (Reverend Winemiller), Ryan Spahn (Archie Kramer), Jonathan Spivey (Roger Doremus), and Barbara Walsh (Mrs. Winemiller).

Running time: Two and a half hours including an intermission

Tickets: $70 to $126

Summer and Smoke is scheduled to run through May 25, 2018