馮客寫作「人民三部曲」（People's Trilogy），希望補足西方漢學的盲點。三部曲中的第一冊 The Tragedy of Liberation: A History of the Communist Revolution, 1945–1957（《解放的悲劇——1945-1957年的共黨革命史》）於2013年出版，入圍2014年歐威爾獎；^[12]第二冊《毛澤東的大饑荒——1958-1962年的中國浩劫史》於2010年出版後，榮獲塞繆爾·約翰遜獎；第三冊寫文化大革命於2016年5月出版。^[13][14]星期日泰晤士報的書評認為馮客的著作會使主流學術界對中國近代史的解讀發生重大改變，《劍橋中國史》第14卷《中華人民共和國史上卷》必須重寫。^[15]







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"Oblivious to the fact that she was considered by experts to be the world’s worst classical singer, Florence Foster Jenkins bulldozed her way to a legendary, self-financed 1944 Carnegie Hall recital," writes Martin Filler in his review of the 2016 film 'Florence Foster Jenkins.'

The Diva of Delusion
Florence Foster Jenkins offers some marvelous set pieces, including Meryl Streep’s hilariously inept version of “The Laughing Song” from Johann Strauss’s Die Fledermaus.
NYBOOKS.COM|由 MARTIN FILLER 上傳



電影Florence Foster Jenkins台灣稱為走音天后Florence Foster Jenkins. 改編自真人真事，《黛妃與女皇》史蒂芬佛瑞爾斯執導，影后梅莉史翠普與休葛蘭主演。一位富裕的紐約名媛，從小夢想成為女高音，儘管她有著明顯缺乏的歌唱天賦，但她經過一番努力，終於即將舉辦一場大型售票演唱 ...

天后不是真走音：八首歌證明梅莉史翠普的唱功其實既深且廣 ...



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主題活動試閱

走音天后
Florence Foster Jenkins

作者： 尼克拉斯．馬丁, 賈斯普．睿斯
原文作者： Nicholas Martin, Jasper Rees
譯者： 宋瑛堂
出版社：時報出版
出版日期：2016

目錄

序
第一章　賓州衛克斯貝里市
第二章　珍金絲醫師夫人
第三章　費城人
第四章　音樂主席
第五章　聖克萊．貝菲爾夫人
第六章　受遺贈人
第七章　俱樂部女子
第八章　會長展歌喉
第九章　貴婦佛羅倫斯
第十章　夜后
第十一章　卡內基音樂廳之首席女伶
第十二章　有其父必有其女
結語
銘謝語與參考書目

https://www.youtube.com/watch?v=58pTDhfE_DA

What John Dos Passos’s “1919” Got Right About 2019

A Depression-era novel about American tumult has—perhaps unsurprisingly—aged quite well.

By Matt Hanson



December 29, 2019

Writing at a moment of economic dissolution and technological transformation, John Dos Passos hoped to show how Americans of all kinds were responding to the bustling mess of modernity.Photograph from Getty










“U.S.A. is the slice of a continent,” John Dos Passos wrote, in his novel “The 42nd Parallel,” from 1930. “U.S.A. is a group of holding companies, some aggregations of trade unions, a set of laws bound in calf, a radio network, a chain of moving picture theatres, a column of stockquotations rubbed out and written in by a Western Union boy on a blackboard, a public-library full of old newspapers and dogeared historybooks with protests scrawled on the margins in pencil. U.S.A. is the world’s greatest rivervalley fringed with mountains and hills, U.S.A. is a set of bigmouthed officials with too many bankaccounts. U.S.A. is a lot of men buried in their uniforms in Arlington Cemetery. U.S.A. is the letters at the end of an address when you are away from home. But mostly U.S.A. is the speech of the people.”


The “U.S.A.” trilogy—written by Dos Passos in the late nineteen-twenties and nineteen-thirties, and consisting of “The 42nd Parallel,” “1919,” and “The Big Money”—was an attempt to describe American life in tumult, from top to bottom. Writing at a moment of economic dissolution and technological transformation, Dos Passos hoped to show how Americans of all kinds were responding to the bustling mess of modernity—what his friend Edmund Wilson called “the American jitters.” In its time, the trilogy sold well, and it was highly praised by Jean-Paul Sartre, William Faulkner, and others. But since then its fortunes have been jittery, too. For many decades, the “U.S.A.” novels, often published as a single volume, were a yellowing tome, more respected than read. Dos Passos came to be seen as an also-ran—a secondary character in the stories of F. Scott Fitzgerald, Ernest Hemingway, and other writers of the Lost Generation. Then, in 1998, a board of luminaries convened by the Modern Library placed the trilogy on its list of the best novels of the twentieth century. In 2013, David Bowie listed “The 42nd Parallel” as one of his favorite books; that same year, George Packer—who has written about Dos Passos for The New Yorker—used the trilogy as a structural inspiration for “The Unwinding,” his nonfictional account of twenty-first-century America on the fritz.

John Dos Passos wrote the “U.S.A.” trilogy in the late twenties and thirties.Photograph from Bettmann / Getty


There’s a reason that Dos Passos’s Depression-era modernism seemed suddenly relevant. The present was coming to look a lot like the past. The novels combined the stylistic innovations of the European modernists, which Dos Passos had used to evoke a shifting media landscape, with fiercely committed leftist politics that were resurgent in the new millennium. He had written a linguistically adventurous national portrait for a precarious age—his, and ours.

The “U.S.A.” novels follow many characters from different levels of society as they hustle, knowingly or not. A gruff dockworker, a social-climbing actress, an idealistic labor organizer, a cynical advertising man, a patriotic fighter pilot—wisely or foolishly, these characters traverse the grimy and gilded paths of the American class system, sometimes meeting one another, sometimes fading away. Dos Passos’s Balzacian ambition was to paint in detail on a wide social canvas. He succeeded only to a point. His hardboiled tone is one limitation: many readers will only be so interested in the fates of grungy, inarticulate men named Mac. And there are few people of color in the novels—a serious flaw in their grand design.

It’s in the interludes between the chapters, though, that Dos Passos’s writing feels strangely fresh. There, he breaks into the narrative to conduct prose experiments. The “Newsreel” sections are montages of quotations selected from various media sources. In the “Camera Eye” sections—inspired by the camerawork of the newly popular cinema—the author’s memories appear in a Joycean flow of words and images. (Dos Passos imagined the camera lens as a tool for self-examination, rather than self-display.) Finally, detailed but highly subjective portraits of historical figures appear at intervals, from Presidents and financiers to radical journalists and labor agitators. Collectively, these interstitial experiments show the cumulative effects of history and media on the inner life of an ordinary person.


In the “Newsreel” sections, text from actual newsreels flows together with snippets from newspaper articles, lines from popular songs, and excerpts from radio broadcasts. These bursts of information seem random but were carefully selected for maximum effect. Hurtling themselves at the reader, they are too brief to be fully explicable, but too portentous to be ignored:


It is difficult to realize the colossal scale upon which Europe will have to borrow in order to make good the destruction of war
bags 28 huns singlehanded
Peace Talk Beginning To Have Its Effect On Southern Iron Market
local boy captures officer
one third war allotments fraudulent
There are smiles that make us happy
There are smiles that make us blue . . . .

Today, of course, the “Newsreel” sections evoke the social-media feed—another venue for the associative, sometimes surreal juxtaposition of image, sound, and text. Usually, online randomness doesn’t cohere: video clips and cat memes fit randomly alongside disturbing headlines or worrisome data points. But sometimes sudden, unexpected juxtapositions can speak volumes about the state of the country. The other night, scrolling through Facebook, I saw a clip from James Baldwin’s famous debate with William F. Buckley, Jr., in 1965. Baldwin talks about his place in American history: “I am stating very seriously . . . that I picked the cotton . . . and I built the railroads, under someone else’s whip, for nothing,” he said. The next item in the feed was a Fox News segment urging viewers to call their local schools to inquire about whether students were saying the Pledge of Allegiance.

VIDEO FROM THE NEW YORKERCrossword Puzzles with a Side of Millennial Socialism


In the “Camera Eye” sections, we move from the media to memory. Dos Passos grew up largely in European hotel rooms, as the lonely bastard son of a wealthy Portuguese-American lawyer. (At the time, this status carried real social stigma.) He then attended élite institutions—Choate, Harvard—before volunteering as an ambulance driver in the First World War. The “Camera Eye” interludes make the fleeting bits of information we encounter in the media (“bags 28 huns singlehanded”) visceral and real:


  remembering the grey crooked fingers the thick drip of blood off the canvas the bubbling when the lungcases try to breathe the muddy scraps of flesh you put in the ambulance alive and haul out dead
  three of us sit in the dry cement fountain of the little garden with the pink walls in Récicourt
No   there must be some way   they taught us Land of the Free
conscience   Give me liberty or give me   Well they give us death





History is always personal in Dos Passos; these poor medics are discovering firsthand the horror that the news omits. Unlike Hemingway, who responded to chaos by carving out clean, simple sentences, Dos Passos portrays his inner life as raw, messy, and ambivalently associative. His style, in its way, suggests how the twenty-first century’s preferred mode of expression and argument—the rant—fits into the larger media ecosystem. Bloggy essays, emotive social-media posts, and even text messages, with their nervous run-on sentences and eccentric punctuation, are a natural response to information overload: a way of channelling and acknowledging the hectic, perpetually uncertain state of the world and the barrage of intense, often contradictory information that is constantly being produced to describe it. Dos Passos arrived at his own, pre-tech version of this style.

His historical portraits, too, reflect a world in which the ground is shifting. Dos Passos presents his eccentric biographical sketches of Woodrow Wilson and Teddy Roosevelt alongside portraits of radicals: the Socialist Presidential candidate Eugene V. Debs, the radical essayist Randolph Bourne, the labor organizer Joe Hill. He gives equal space to those in power and those who spent their lives seeking to break it up. The most moving of all the historical portraits is the eulogy to the Unknown Soldier, which closes “1919.” A sombre depiction of the funeral cortege honoring the fallen, in Arlington National Cemetery, concludes with the observation that “Woodrow Wilson brought a bouquet of poppies”—an expression of controlled, understated rage. On the one hand, Dos Passos seeks to revise history, just as we now look to reassess the legacies of our “great men.” But his all-encompassing collection of portraits also suggests the limits of such revision: the American narrative is the product of opposing forces that are unlikely to subside.

The line for which Dos Passos is best known comes from his anguished account, in “The Big Money,” of the Sacco and Vanzetti trial: “All right we are two nations.” The statement’s terse, sleepless tone resonates now as it did then. Dos Passos was writing amid worldwide shock after the execution, in Boston, of Nicola Sacco and Bartolomeo Vanzetti, two Italian-immigrant anarchists convicted of murder. The conviction, based on flimsy evidence, had been influenced by seething anti-immigrant and anti-Italian sentiment. Dos Passos interviewed Sacco and Vanzetti in their jail cells and was arrested during a demonstration on their behalf, on the Boston Common.

Appalled as he was by the trial, Dos Passos wasn’t surprised. Over the course of his life, he’d come to see America as a permanently divided country. We’re often told, in hand-wringing tones, about the growing differences between red and blue states, and about our increasingly divisive political and social rhetoric. But, in Dos Passos’s view, division has been the rule in American life, not the exception; he considered it to be authentically American. The “U.S.A.” novels plumbed the depths of our rifts, and explored how they might be widened by a media-saturated age, and by the fragmentation of information and the latent social hysteria that come with it.

Dos Passos was often an early reader of manuscripts by Hemingway, Fitzgerald, and other writers; they’ve since gone on to be more famous than he is. Perhaps his peers trusted him because he perceived, with special clarity, the conflicting sociopolitical forces that were shaping modern life and giving it its texture—forces that are still at work in our digitized Gilded Age.



Matt Hanson is a contributing editor at the Arts Fuse. He lives in New Orleans.

教皇這一本，大陸已經有翻譯本。

Sergey Brin - Wikipedia

 此書吾友汪永祺先生翻譯部分。2014.8.25 建議孫康宜等，編寫一本旅美華人.....

Illustrious Immigrants. The Intellectual Migration from Europe, 1930-41. Laura Fermi. University of Chicago Press, Chicago, 1968. xii + 440 pp., illus. $7.95

Illustrious immigrants: the intellectual migration from Europe, 1930 ...
Title, Illustrious immigrants: the intellectual migration from Europe, 1930-41. Author, Laura Fermi. Publisher, University of Chicago Press, 1968. Original from, the ...



Enrico Fermi (1901-1954): pioneer in nuclear fission
在一九二九年到三○年那幾年中，嶄新而具革命性的物理觀念，像是量子理論、波動力學，正激盪著許多大學生（至少是最好的大學生），其中還包括一些名人，像波耳（Niels Bohr,1885-1962）、海森堡（Wenner Heisenberg,1901-1976）、薛丁格（Erwin Schrodinger,1887-1961），特別是費米（Enrico Fermi,1901-1954，以上幾位都是諾貝爾物理獎得主），他當時早已是義大利物理學界傳奇的年輕明星。聽著費諾講述有關量子、正電子、中子等令人興奮的理論，我把物理學想像成一個令人神往的領域，也由於我完全不懂，反而更加強了它的神奇色彩。



*Henry Moore Sculpture - "Nuclear Energy"
I have always found this sculpture by Henry Moore chilling. The bronze is titled "Nuclear Energy," and it commemorates the creation of the first sustained nuclear chain reaction, which was realized by a team of University of Chicago scientists led by Enrico Fermi. This knowledge eventually led to the creation of the nuclear bomb and, subsequently, to its use in Hiroshima. The sculpture was unveiled on December 2, 1967.

Location:
Ellis Avenue between 56th Street and 57th Street
Chicago, IL
----

關於那些大將軍們的影響力及其天賦 *﹐據說 Enrico Fermi有一次問了Leslie Groves將軍：「究竟有多少將軍可以說得上偉大﹖」Groves回答說：「一百個中約有三個。」Fermi又問：「到底一個將軍怎樣才算是偉大的將軍﹖」 Groves回答說：「只要能連續贏得五次大戰役便可以很保險地說他是偉大。」此問答是在第二次大戰中。Fermi接下來說：「我們考慮在大多數戰役中敵對兩方大抵勢均力敵﹐因此一個將軍打贏一次勝仗的勝算為一對二﹔連贏兩仗的勝算為一對四﹔連贏三仗為一對八﹔連贏四仗為一對十六﹔連贏五仗為一對三十二。所以﹐將軍你果然沒錯。大約每一百個中有三個是屬於機率所創造的將軍﹐而不是天賦。」

---


很巧，今天是費米（Enrico Fermi 1901-1954）的生日。

我對於他的科學貢獻只是似懂非懂。不過他是個奇才，有其特殊的遭遇。對於我們這種雅好傳記的人，他有愛妻蘿拉(Laura Fermi)和摯友賽格勒(Emilio Segre)分別為他立傳，又都有中文翻譯本，真是福氣（雖說它們姍姍來遲，卻聊勝於無）。可惜的是，中國的有許多翻譯失誤。Emilio Segre著《原子舞者：費米傳》，翻譯錯誤多。
蘿拉•費米(Laura Fermi)是健筆，寫過不少書，例如我們Simon University討論過的《美國傑出的歐洲移民》( Illustrious immigrants: the intellectual migration from Europe)，他是費米的太太，在香港版的後記，Laura Fermi說，賽格勒對她說，

"你應該寫一本你先生的傳記。" Laura 起先說："我做不到，我的丈夫只是一個我替他做飯和燙襯衣的人，我怎麼能夠嚴肅地替他寫傳記。"但這念頭卻在我心裡生了根，結果是寫了這本書。我也感謝Emilio Segre替我校閱書稿中有關科學的部分。

Emilio Segre（1905-89） 也是諾貝爾物理學獎得主（1959），他也寫一本費米傳記：《費米傳：物理學家》。

Emilio Segre著《原子舞者：費米傳》( Enrico Fermi: Physicist  1970) ，上海科學技術出版社，2004 (Emilio Segre 的作品可以上網讀一下，也是我對照讀的根據：
http://www.amazon.com/gp/reader/0226744736/ref=sib_dp_pt/104-8765438-1148768#reader-page

Atoms in the Family: My Life with Enrico Fermi (University of Chicago Press, 1954)

        Atoms in the Family: My Life with Enrico Fermi


books.google.com.tw/books?isbn=0226243672Laura Fermi - 1954 - ‎Biography & Autobiography
My Life with Enrico Fermi Laura Fermi ... wrote Atoms for the World, Mussolini, andIllustrious Immigrants: The Intellectual Migration from Europe, 1930-1941.

Atoms in the Family: My Life With Enrico Fermi ，香港和北京都有翻譯。我讀過的:
《費米傳:原子時代的奠基人 》，葉蒼譯，香港：今日世界， 1973--本書第一頁將"1942年"誤植為"1972年"。又，  "sélf-sustáining"，是"自足的"。不是"自動的"....
《費爾米傳》

-

無意中讀到某單位說明「書號」。
Emilio Segre 1970年所著的 "Enrico Fermi: Physicist"一書的索書號
分析如下： 依國會圖書分類法索書號為： QC16
　　　　　　　　　　　　　　　　　　 F46
　　　　　　　　　　　　　　　　　　 S4
　　　　　　　　　　　　　　　　　　 1970
　　　　　其中　Q　　代表科學
　　　　　　　　 QC　 代表物理學
　　　　　　　　16　　　代表個人傳記
　　　　　　　　　.F46　　代表被傳者Fermi的科特號
　　　　　　　　S4　　　　　代表著者Segre的科特號
　　　　　　　　1970　　　　　代表出版年

1:36

近萬子孫祭祖桃園葉氏宗親3/15決議| 華視新聞20200304


全台最大掃墓陣仗！葉氏祭祖竟破萬人 - MSN
www.msn.com › zh-tw › news › living › 全台最大...

2019/04/05 - 清明連假第二天，桃園新屋葉氏宗親舉辦祭祖掃墓，每年聚集人潮都超過萬人，各地葉氏子孫從海內外聚集，體會慎終追遠，號稱全台最盛大的掃墓活動。




Ancestral Leaves：A Family Journey through Chinese History

Joseph W. Esherick (Author)

Available worldwide

A Philip E. Lilienthal Book in Asian Studies

University of California Press (February 9, 2011)

Ancestral Leaves follows one family through six hundred years of Chinese history and brings to life the epic narrative of the nation, from the fourteenth century through the Cultural Revolution. The lives of the Ye family—“Ye” means “leaf” in Chinese—reveal the human side of the large-scale events that shaped modern China: the vast and destructive rebellions of the nineteenth century, the economic growth and social transformation of the republican era, the Japanese invasion during World War II, and the Cultural Revolution under the Chinese Communists. Joseph W. Esherick draws from rare manuscripts and archival and oral history sources to provide an uncommonly personal and intimate glimpse into Chinese family history, illuminating the changing patterns of everyday life during rebellion, war, and revolution.


Preface

Part I: The Imperial Era

1. Fleeing the Long Hairs
2. Family Roots
3. Father, Son, and Family
4. Rebellion
5. Official Life in the Late Qing
6. A Time of Transitions

Part II: Republican China

7. Doing Business in Tianjin
8. Growing Up in Tianjin
9. Student Life in the 1930s
10.War

Part III: The People’s Republic

11. Family Life in New China
12. Hundred Flowers and Poisonous Weeds
13. The Cultural Revolution

Epilogue: After the Deluge

Notes
Glossary of Chinese Terms
Selected Ye Family Bibliography
Index



Joseph W. Esherick is Professor of Modern Chinese History at the University of California, San Diego. He is the author ofThe Origins of the Boxer Uprising (UC Press) and co-editor of The Chinese Cultural Revolution as History, among many books.



葉:百年動盪中的一個中國家庭

Natasha's Dance: A Cultural History of Russia (英語)  – 2003/10/1
Orlando Figes (著)

"......馮至先生飲譽文壇首先是作為一位詩人，"淺草社"的健將，"沈鐘社"的創立者之一，被魯迅譽為"中國最傑出的抒情詩人"。清華大學解志熙強調，一向"苛刻"的魯迅在當時詩名顯赫的徐志摩、李金發、聞一多等人群中獨獨褒獎馮至，這個評價是認真的，馮至不僅抒情詩幽婉別緻，他還具有駕馭長篇敘事體詩的卓越能力，他撰寫的文學史設專章《精深的馮至和博大的艾青》......"

詩人馮至的介紹，可參考小野 忍的〈詩人馮至〉。
學者馮至，可參考 《馮至學術論著自選集》北京師範大學出版社，1992，512頁
網路上似乎可閱讀。
又，《馮至自選集》首都師範，2版，2008，468頁


第1版自序
自傳
上卷
　杜甫和我們的時代
　我想怎樣寫一部傳記
　從“長安十載”到“夔府孤城”
　《杜甫詩選》前言
　紀念偉大的詩人杜甫
　論杜詩和它的遭遇
　日文版《詩人杜甫》序
　談《儒林外史》
　評福蘭閣教授的李贄研究
　中國文學里的現實主義和浪漫主義
　從《古文觀止》談中國散文的特點
　論歷史的教訓
　批評與論戰
　新文學初期的繼承與借鑒
　要慎重使用西方的文學術語
　紀念魯迅要擴大魯迅研究的領域
　《花城袖珍詩叢》總序
　欣慰與“困惑”
　文如其人，人如其文——《李廣田文集》序
　關于調整大學中文外文二系機構的一點意見
下卷
　讀歌德詩的幾點體會
……
馮至主要著譯目錄

---

Wikipedia 很無趣

生平[編輯]

主要作品[編輯]

• 《昨日之歌》（1927）
• 《北游及其他》（1929）
• 《十四行集》（1942）
• 散文集《東歐雜記》（1951）
• 傳記《杜甫傳》(1952)
• 譯作集《海涅詩選》（1956）
• 詩集《西郊集》(1958)
• 詩集《十年詩抄》(1959)
• 論文集《詩與遺產》(1963)
• 譯海因里希·海涅長詩《德國，一個冬天的童話》(1978)

評價[編輯]

影響[編輯]

參考資料[編輯]

外部連結[編輯]

• 馮至
• 王德威：〈夢與蛇：何其芳、馮至與「重生的抒情」〉。
• 岩佐昌暲：〈對馮至詩《蛇》的一種看法〉。
• 顧彬：〈路的哲學——論馮至的十四行詩〉。

Elizabeth Warren is expected to end her presidential bid Thursday. Watch her press conference LIVE https://trib.al/HCRNQS1





Fighting chance definition: a slight chance of success dependent on a struggle



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

孔子を尊敬し、儒者として処世した。字（あざな）として『善之』を生涯用いた。
「桑原武夫・富士正晴・興膳宏編 『吉川幸次郎』、筑摩書房（1982）」の巻末、興膳宏編：『善之吉川幸次郎先生年譜』

• 『宋詩概説 中国詩人選 第二集（1）』、岩波書店 （1962、新版1990）／岩波文庫（2006） ISBN 9784003315231
• 『元明詩概説 中国詩人選 第二集（2）』、岩波書店 （1963、新版1990）／岩波文庫（2006） ISBN 9784003315248

• —— (1967). An Introduction to Sung Poetry. translated by Burton Watson. Cambridge, Mass.: Harvard University Press.『宋詩概説 中国詩人選 第二集（1）』、岩波書店 （1962、新版1990）／岩波文庫（2006） ISBN 9784003315231
• —— (1983). Jinsai, Sorai, Norinaga : Three Classical Philologists of Mid-Tokugawa Japan. Tokyo, Japan: Toho Gakkai. ISBN 4924530026.『仁斎・徂徠・宣長』、岩波書店（1975）、復刊（1990）ISBN 9784000009591
• —— (1989). Five Hundred Years of Chinese Poetry, 1150-1650: The Chin, Yuan, and Ming Dynasties. translated by John Timothy Wixted. Princeton, N.J.: Princeton University Press. ISBN 0691067686. 『中国詩史』 （上・下、高橋和巳編）、筑摩書房［筑摩叢書］（1967）／復刊（1984）？

吉川幸次郎全集，書和人，1972.11.11
當時二十卷，最後24卷

鄭樑生教授（1929-2007）

最近台灣蘋果日報裁員5%，據說是數位轉型不成功。
(她不像旺報那樣微不足道)
美國的紐約時報、華盛頓郵報等，似乎轉型成功？
新報/媒體的失敗率，本來就相當高.......

"125週年紀念來辦這張以童書《The Snowy Day》設計出的超美限量卡吧！....."


開館100週年1995紀念展及書1995/1997 (每本書一頁，近百字介紹)
The New York Public Library's Books of the Century.



240 pages. Published by Oxford University Press, 1996.

Hardcover. $39.95. ISBN ISBN13: 978-0-19-511790-5; ISBN10: 0-19-511790-5.
想不通，昔日誠品的訂價是320元；我舊書120元取得。
該館有書展簡介
今天是婦女節，諸位可以參考 Women Rise一類；


The New York Public Library's Books of the Century


Illustration copyright 1995, 1997 Diana BryanThe following is a complete list of the titles included in the exhibition Books of the Century at The New York Public Library's Center for the Humanities, May 20, 1995-July 13, 1996, and in The New York Public Library's Books of the Century, published by Oxford University Press.
Landmarks of Modern Literature
Nature's Realm
Protest & Progress
Colonialism and Its Aftermath
Mind & Spirit
Popular Culture & Mass Entertainment
Women Rise
Economics & Technology
Utopias & Dystopias
War, Holocaust, Totalitarianism
Optimism, Joy, Gentility
Favorites of Childhood and Youth

Follow the heading link to see each list.
Landmarks of Modern Literature

Anton Chekhov. Tri sestry / The Three Sisters (1901)
Marcel Proust. A la recherche du temps perdu / Remembrance of Things Past (3 vols., 1913-27)
Gertrude Stein. Tender Buttons: Objects Food Rooms (1914)
Franz Kafka. Die Verwandlung / The Metamorphosis (1915)
Edna St. Vincent Millay. Renascence and Other Poems (1917)
William Butler Yeats. The Wild Swans at Coole (1917)
Luigi Pirandello. Sei personaggi in cerca d'autore / Six Characters in Search of an Author (1921)
T. S. Eliot. The Waste Land (1922)
James Joyce. Ulysses (1922)
Thomas Mann. Der Zauberberg / The Magic Mountain (1924)
F. Scott Fitzgerald. The Great Gatsby (1925)
Virginia Woolf. To the Lighthouse (1927)
Federico García Lorca. Primer romancero gitano / Gypsy Ballads (1928)
Richard Wright. Native Son (1940)
William Faulkner. The Portable Faulkner (1946)
W. H. Auden. The Age of Anxiety: A Baroque Eclogue (1947)
Samuel Beckett. Waiting for Godot; A Tragicomedy in Two Acts (1952)
Ralph Ellison. Invisible Man (1952)
Vladimir Nabokov. Lolita (1955)
Jorge Luis Borges. Collected Fictions (1944; 2nd augmented edition, 1956)
Jack Kerouac. On the Road (1957)
Gabriel García Márquez. Cien años de soledad / One Hundred Years of Solitude (1967)
Philip Roth. Portnoy's Complaint (1969)
Toni Morrison. Song of Solomon (1977)
Nature's Realm

Maurice Maeterlinck. La vie des abeilles / The Life of the Bee (1901)
Marie Sklodowska Curie. Traité de radioactivité / Treatise on Radioactivity (1910)
Albert Einstein. The Meaning of Relativity (1922)
Roger Tory Peterson. A Field Guide to the Birds (1934)
Aldo Leopold. A Sand County Almanac (1949)
Konrad Z. Lorenz. King Solomon's Ring: New Light on Animal Ways (1949)
Rachel Carson. Silent Spring (1962)
Smoking and Health (known as The Surgeon General's Report) (1964)
James Watson. The Double Helix: A Personal Account of the Discovery of the Structure of DNA (1968)
Edward O. Wilson. The Diversity of Life (1992)
Protest & Progress

Jacob Riis. The Battle with the Slum (1902)
W. E. B. Du Bois. The Souls of Black Folk (1903)
Upton Sinclair. The Jungle (1906)
Jane Addams. Twenty Years at Hull-House (1910)
Lillian Wald. The House on Henry Street (1915)
Lincoln Steffens. The Autobiography of Lincoln Steffens (1931)
John Dos Passos. U.S.A. (1937)
John Steinbeck. The Grapes of Wrath (1939)
James Agee and Walker Evans. Let Us Now Praise Famous Men (1941)
Lillian Smith. Strange Fruit (1944)
Paul Goodman. Growing Up Absurd (1960)
James Baldwin. The Fire Next Time (1963)
Malcolm X. The Autobiography of Malcolm X (1965)
Randy Shilts. And the Band Played On (1987)
Alex Kotlowitz. There Are No Children Here (1991)
Colonialism & Its Aftermath

Joseph Conrad. Lord Jim (1900)
Rudyard Kipling. Kim (1901)
Mohandas K. Gandhi. Satyagraha / Non-Violent Resistance (1921-40)
E. M. Forster. A Passage to India (1924)
Albert Camus. L'étranger / The Stranger (1942)
United Nations Charter (1945)
Alan Paton. Cry, the Beloved Country (1948)
Edward Steichen. The Family of Man: The Photographic Exhibition Created by Edward Steichen for the Museum of Modern Art (1955)
Chinua Achebe. Things Fall Apart (1958)
Frantz Fanon. Les damnés de la terre / The Wretched of the Earth (1961)
Jean Rhys. Wide Sargasso Sea (1966)
Tayeb el-Salih. Mawsim al-Hijra ilá al-Shamāl / Season of Migration to the North (1969)
V. S. Naipaul. Guerrillas (1975)
Buchi Emecheta. The Bride Price (1976)
Ryszard Kapuscinski. Cesarz / The Emperor (1978)
Rigoberta Menchú. I, Rigoberta Menchú (1983)
Marguerite Duras. L'amant / The Lover (1984)
Mind & Spirit

Emile Durkheim. Le suicide: étude de sociologie / Suicide: A Study in Sociology (1897)
Sigmund Freud. The Interpretation of Dreams (1900)
Havelock Ellis. Studies in the Psychology of Sex (1901-28)
William James. The Varieties of Religious Experience: A Study in Human Nature (1902)
Kahlil Gibran. The Prophet (1923)
Bertrand Russell. Why I Am Not a Christian (1927)
Margaret Mead. Coming of Age in Samoa (1928)
Jean-Paul Sartre. L'être et le néant / Being and Nothingness (1943)
Dr. Benjamin Spock. The Common Sense Book of Baby and Child Care (1946)
The Holy Bible. Revised Standard Version (1952)
Paul Tillich. The Courage to Be (1952)
Ken Kesey. One Flew Over the Cuckoo's Nest (1962)
Timothy Leary. The Politics of Ecstasy (1968)
Elisabeth Kübler-Ross. On Death and Dying (1969)
Bruno Bettelheim. The Uses of Enchantment (1976)
Popular Culture & Mass Entertainment

Bram Stoker. Dracula (1897)
Henry James. The Turn of the Screw (1898)
Arthur Conan Doyle. The Hound of the Baskervilles (1902)
Edgar Rice Burroughs. Tarzan of the Apes (1912)
Zane Grey. Riders of the Purple Sage (1912)
Agatha Christie. The Mysterious Affair at Styles (1920)
Dale Carnegie. How to Win Friends and Influence People (1936)
Margaret Mitchell. Gone with the Wind (1936)
Raymond Chandler. The Big Sleep (1939)
Nathanael West. The Day of the Locust (1939)
Grace Metalious. Peyton Place (1956)
Dr. Seuss. The Cat in the Hat (1957)
Robert A. Heinlein. Stranger in a Strange Land (1961)
Joseph Heller. Catch-22 (1961)
Truman Capote. In Cold Blood: A True Account of a Multiple Murder and Its Consequences (1965)
Jim Bouton. Ball Four: My Life and Hard Times Throwing the Knuckleball in the Big Leagues (1970)
Stephen King. Carrie (1974)
Tom Wolfe. The Bonfire of the Vanities (1987)
Women Rise

Edith Wharton. The Age of Innocence (1920)
Carrie Chapman Catt and Nettie Rogers Shuler. Woman Suffrage and Politics: The Inner Story of the Suffrage Movement (1923)
Margaret Sanger. My Fight for Birth Control (1931)
Zora Neale Hurston. Dust Tracks on a Road (1942)
Simone de Beauvoir. Le deuxième sexe / The Second Sex (1949)
Doris Lessing. The Golden Notebook (1962)
Betty Friedan. The Feminine Mystique (1963)
Maya Angelou. I Know Why the Caged Bird Sings (1969)
Robin Morgan, editor. Sisterhood Is Powerful: An Anthology of Writings from the Women's Liberation Movement (1970)
Susan Brownmiller. Against Our Will: Men, Women and Rape (1975)
Alice Walker. The Color Purple (1982)
Economics & Technology

Thorstein Veblen. The Theory of the Leisure Class: An Economic Study of Institutions (1899)
Max Weber. Die protestantische Ethik und der Geist des Kapitalismus / he Protestant Ethic and the Spirit of Capitalism (1904)
Henry Adams. The Education of Henry Adams (1907)
John Maynard Keynes. The General Theory of Employment, Interest and Money (1936)
Friedrich A. von Hayek. The Road to Serfdom (1944)
Milton Friedman. A Theory of the Consumption Function (1957)
John Kenneth Galbraith. The Affluent Society (1958)
Jane Jacobs. The Death and Life of Great American Cities (1961)
Helen Leavitt. Superhighway - Superhoax (1970)
E. F. Schumacher. Small Is Beautiful: A Study of Economics as if People Mattered (1973)
Ed Krol. The Whole Internet: User's Guide & Catalog (1992)
Utopias & Dystopias

H. G. Wells. The Time Machine (1895)
Theodor Herzl. Der Judenstaat / The Jewish State (1896)
L. Frank Baum. The Wonderful Wizard of Oz (1900)
J. M. Barrie. Peter Pan in Kensington Gardens (1906)
Charlotte Perkins Gilman. Herland (1915)
Aldous Huxley. Brave New World (1932)
James Hilton. Lost Horizon (1933)
B. F. Skinner. Walden Two (1948)
George Orwell. Nineteen Eighty-four (1949)
Ray Bradbury. Fahrenheit 451 (1953)
Ayn Rand. Atlas Shrugged (1957)
Anthony Burgess. A Clockwork Orange (1962)
Margaret Atwood. The Handmaid's Tale (1985)
War, Holocaust, Totalitarianism

Arnold Toynbee. Armenian Atrocities: The Murder of a Nation (1915)
John Reed. Ten Days That Shook the World (1919)
Siegfried Sassoon. The War Poems (1919)
Jaroslav Hasek. Osudy dobrého vojáka Svejka za svetové války / The Good Soldier Schweik (1920-23)
Adolf Hitler. Mein Kampf (1925-26)
Erich Maria Remarque. Im Westen nichts Neues / All Quiet on the Western Front (1928)
Anna Akhmatova. Rekviem / Requiem (1935-40)
Ernest Hemingway. For Whom the Bell Tolls (1940)
Arthur Koestler. Darkness at Noon (1941)
John Hersey. Hiroshima (1946)
Anne Frank. Het Achterhuis / The Diary of a Young Girl (1947)
Winston Churchill. The Gathering Storm (1948)
Elie Wiesel. La nuit / Night (1958)
Mao Zedong. Quotations from Chairman Mao (1966)
Dee Alexander Brown. Bury My Heart at Wounded Knee: An Indian History of the American West (1970)
Aleksandr I. Solzhenitsyn. Arkhipelag GULag, 1918-1956 / The Gulag Archipelago, 1918-1956: An Experiment in Literary Investigation (1973-75)
Michael Herr. Dispatches (1977)
Art Spiegelman. Maus: A Survivor's Tale (2 vols., 1986-91)
Optimism, Joy, Gentility

Sarah Orne Jewett. The Country of the Pointed Firs (1896)
Helen Keller. The Story of My Life (1903)
G. K. Chesterton. The Innocence of Father Brown (1911)
Juan Ramón Jiménez. Platero y yo / Platero and I; An Andalusian Elegy (1914)
George Bernard Shaw. Pygmalion (1914)
Emily Post. Etiquette in Society, in Business, in Politics, and at Home (1922)
P. G. Wodehouse. The Inimitable Jeeves (1923)
A. A. Milne. Winnie-the-Pooh (1926)
Willa Cather. Shadows on the Rock (1931)
Irma S. Rombauer. The Joy of Cooking: A Compilation of Reliable Recipes with a Casual Culinary Chat (1931)
J. R. R. Tolkien. The Hobbit (1937)
Margaret Wise Brown. Goodnight Moon (1947)
Harper Lee. To Kill a Mockingbird (1960)
Langston Hughes. The Best of Simple (1961)
Elizabeth Bishop. The Complete Poems, 1927-1979 (1983)
Favorites of Childhood & Youth

Beatrix Potter. The Tale of Peter Rabbit (1901)
Betty Smith. A Tree Grows in Brooklyn (1943)
C. S. Lewis. The Lion, the Witch and the Wardrobe (1950)
J. D. Salinger. The Catcher in the Rye (1951)
E. B. White. Charlotte's Web (1952)
Ezra Jack Keats. The Snowy Day (1962)
Maurice Sendak. Where the Wild Things Are (1963)
Patricia MacLachlan. Sarah, Plain and Tall (1985)


240 pages. Published by Oxford University Press, 1996.

Hardcover. $39.95. ISBN ISBN13: 978-0-19-511790-5; ISBN10: 0-19-511790-5.


2014.10
天下雜誌教育基金會【閱讀小品】翻轉圖書館，戶外閱讀感受大不同
美國紐約公共圖書館做了一個新創舉，發起「The Library Inside Out: Read Everywhere」活動，在圖書館周邊打造戶外閱讀空間，翻轉過去圖書館只能在室內閱讀的限制，鼓勵民眾在任何地方都可以拿起書本進行閱讀活動。





Sacking a Palace of Culture
By EDMUND MORRIS

In trying to popularize its crown jewel, the New York Public Library could destroy it.






New York Public Library Buys Timothy Leary's Papers

By PATRICIA COHEN




The archive of the drug guru Timothy Leary includes accounts of Allen Ginsburg's and Jack Kerouac's experiments with psilocybin.




Psilocybin[nb 1] (/ˌsɪləˈsaɪbɪn/SIL-ə-SY-bin) is a naturally occurring psychedelic compound produced by more than 200 species of mushrooms, collectively known as psilocybin mushrooms.








See Larger Image

The New York Public Library
The Architecture and Decoration of the Stephen A. Schwarzman Building


Henry Hope Reed (Author), Francis Morrone (Author), Anne Day (Photographs by)





Overview | Inside the Book




With new color photography showing off a thorough inside-and-out refurbishment, this volume celebrates a beloved landmark.

The New York Public Library, one of the nation's architectural wonders, is possibly our finest classical building. Designed by John Merven Carrère and Thomas Hastings, and inspired by the great classical buildings in Paris and Rome, it was completed in 1911. The library boasts a magnificent exterior, but that is only the beginning. In the interior, one splendid hall follows another, an awesome gallery leads to richly decorated rooms, and stairways are vaulted in marble. From the terrace to the breathtaking Main Reading Room is a triumphal way. All the devices of the classical tradition, the main artistic current of Western civilization, are brought into play. Maidens, cherubs, and satyr masks look down from ceilings. Lions' heads, paws, rams' heads, and griffins are on every side. In this beautiful volume, featuring new color photography by Anne Day, every facet of the building is described, including its inception and construction.
Book Details
Hardcover
June 2011
ISBN 978-0-393-07810-7
9.5 × 12.4 in / 320 pages





From Wikipedia, the free encyclopedia


Jump to: navigation, search

Coordinates: 40.75270°N 73.98180°W



New York Public Library





Established

1895


Location

New York, New York


Branches

87


Collection


Items collected

Gutenberg Bible


Size

52,946,398[1]


Access and use


Population served

19,378,102


Other information


Budget

$245,337,000[2]


Director

Ann Thornton[3]

President and CEO, Anthony Marx[4]


Staff

3,147


Website

http://www.nypl.org/


The New York Public Library (NYPL) is a public library system in New York City. With nearly 53 million items, the New York Public Library is the second largest public library in the United States, behind only the Library of Congress. It is an independently managed, nonprofit corporation operating with both private and public financing. The library has branches in the boroughs of Manhattan, The Bronx and Staten Island and it has affiliations with academic and professional libraries in the metropolitan area of New York State . The City of New York's other two boroughs, Brooklyn and Queens, are served by the Brooklyn Public Library and the Queens Borough Public Library, respectively. The branch libraries are open to the general public and consist of research libraries and circulating libraries.

The library originated in the 19th Century, and its founding and roots are the amalgamation of grass-roots libraries, social libraries of bibliophiles and the wealthy, and from philanthropy of the wealthiest Americans of their age.



Contents

[hide]
1 History
1.1 Founding
1.2 Collection development
1.3 Main branch building
1.4 Other research branches
1.5 Recent history
1.6 Controversies
2 Branch libraries
3 Services
3.1 ASK NYPL
3.2 Website
3.2.1 Controversies
4 In popular culture
5 Other New York City library systems
6 See also
7 References
8 Further reading
9 External links
10 External links

[edit] History







The New York Public Library main building during late stage construction in 1908, the lion statues not yet installed at the entrance
[edit] Founding







Astor Library

At the behest of Joseph Cogswell, John Astor placed a codicil in his will to bequeath $400,000 for the creation of a public library.[5] After Astor's death in 1848, the resulting board of trustees executed the will's conditions and constructed the Astor Library in 1854 in the East Village.[6] The library created was a free, reference library, as its books were not permitted to circulate.[7] By 1872, the Astor Library was a "major reference and research resource",[8] but, “Popular it certainly is not, and, so greatly is it lacking in the essentials of a public library, that its stores might almost as well be under lock and key, for any access the masses of the people can get thereto.”[9]

An act of the New York State Legislature incorporated the Lenox Library in 1870.[10] The library was built on Fifth Avenue, between 70th and 71st street, in 1877 and to it, bibliophile and philanthropistJames Lenox donated a vast collection of his Americana, art works, manuscripts, and rare books,[11] including the first Gutenberg Bible in the New World.[8] At its inception, the library charged admission and did not permit physical access to any literary items.ref>[12]







Lenox copy of the Gutenberg Bible in the New York Public Library

Former Governor of New York and presidential candidate Samuel J. Tilden felt that a library with city-wide reach was required, and upon his death in 1886, he bequeathed the bulk of his fortune—about $2.4 million—to "establish and maintain a free library and reading room in the city of New York".[8] This money would sit untouched in a trust for several years, until John Bigelow, a New York attorney, and trustee of the Tilden fortune, came up with an idea to merge two of the city's largest libraries.

Both the Astor and Lenox Libraries were struggling financially.[8] Although New York City already had numerous libraries in the 19th century, almost all of them were privately funded and many charged admission or usage fees.[citation needed] On May 23, 1895, Bigelow and representatives of the two libraries agreed to create "The New York Public Library, Astor, Lenox and Tilden Foundations". The plan was hailed as an example of private philanthropy for the public good.[8] The newly established library consolidated with the grass-roots New York Free Circulating Library, in February 1901.[13]

In March, Andrew Carnegie tentatively agreed to donate $5.2 million (presently, $1,452,672,000) to construct sixty-five branch libraries, with the requirement that they be maintained by the City of New York.[14] The Brooklyn and Queens public library systems, which predated the consolidation of New York City eschewed the grants offered to them and did not join the NYPL system because they felt that they would not be treated equally with their Manhattan and Bronx counterparts.[citation needed] Later in 1901 Carnegie formally signed a contract with the City of New York to transfer his donation to the city to then allow it to justify purchasing the land to house the libraries.[15] The NYPL Board of trustees hired consultants, and then accepted their recommendation that a very limited amount of architectural firms be hired to build the Carnegie libraries so as to assure uniformity of appearance and to minimize cost. Consequently, the trustees hired McKim, Mead & White, Carrère and Hastings, and Walter Cook to design all the branch libraries.[16]







Cross-view of classical details in the entrance portico
[edit] Collection development

The famous New York author Washington Irving was a close friend of Astor for decades and helped the philanthropist design the Astor Library. Irving served as President of the library's Board of Trustees from 1848 until his death in 1859, shaping the libraries collecting policies with his strong sensibility regarding European intellectual life.[17] Subsequently the Library hired nationally prominent experts to guide its collections policies; they reported directly to directors John Shaw Billings (who also developed the National Library of Medicine), Edwin H. Anderson, Harry Miller Lydenberg, Franklin F. Hopper, Ralph A. Beals, and Edward Freehafer (1954–70).[18] The emphasized expertise, objectivity and a very broad world-wide range of knowledge in acquiring, preserving, organizing, and making available to the general population nearly 12 million books and 26.5 million additional items.[19] The directors in turn reported to an elite board of trustees, chiefly elderly, well-educated, philanthropic, predominantly Protestant, upper-class white men with commanding positions in American society. They saw their role as protecting the library's autonomy from politicians as well as bestowing upon it status, resources, and prudent care.[20]

Representative of many major decisions was the purchase in 1931 of the private library of Grand Duke Vladimir Alexandrovich (1847–1909), uncle of the last tsar. This was one of the largest acquisition of Russian books and photographic materials, and was made possible by the Soviet government's policy of selling its cultural collections abroad for gold.[21]

The military made heavy use of the Library's map and book collections in the world wars. For example, the Map Division's chief Walter Ristow became head of the geography section of the War Department's New York Office of Military Intelligence from 1942 to 1945. Ristow and his staff discovered copied and loaned thousands of strategic, rare or unique maps to war agencies in need of information not available through other sources.[22]
[edit] Main branch building


Main article: New York Public Library Main Branch

The organizers of the New York Public Library, wanting an imposing main branch, chose a central site available at the two-block section of Fifth Avenue between 40th and 42nd streets, then occupied by the no-longer-needed Croton Reservoir. Dr. John Shaw Billings, the first director of the library, created an initial design which became the basis of the new building (now known as the Schwarzman Building) on Fifth Avenue. Billings's plan called for a huge reading room on top of seven floors of bookstacks combined with a system that was designed to get books into the hands of library users as fast as possible.[8] Following a competition among the city's most prominent architects, Carrère and Hastings was selected to design and construct the building.[23] The cornerstone was laid in May 1902,[24] and the building's completion was expected to be in three years.[citation needed] In 1910, 75 miles (121 km) of shelves were installed, and it took a year to move and install the books that were in the Astor and Lenox libraries.[8]

On May 23, 1911, the main branch of the New York Public Library was officially opened in a ceremony presided over by President William Howard Taft. After a dedication ceremony, the library was open to the general public that day.[25] The library had cost $9 million to build and its collection consisted of more than 1,000,000 volumes.[26] The library structure was a Beaux-Arts design and was the largest marble structure up to that time in the United States.[27] It included two stone lions guarding the entrance were sculpted by E. C. Potter.[28] Its main reading room was contemporaneously the largest of its kind in the world at 77 feet (23.5 m) wide by 295 feet (89.9 m) long, with 50 feet (15.2 m) high ceilings.[24] It is lined with thousands of reference books on open shelves along the floor level and along the balcony. The New York Public Library instantly became one of the nation's largest libraries and a vital part of the intellectual life of America.[citation needed] Dr. Henry Miller Lydenberg served as director between 1934–1941.[29]







"Patience" and "Fortitude", the "Library Lion" statues, in the snowstorm of Dec. 1948







Entrance to the Public Catalog Room







The Map Division

The building was declared a National Historic Landmark in 1965.[30] Over the decades, the library system added branch libraries, and the research collection expanded until, by the 1970s, it was clear the collection eventually would outgrow the existing structure. In the 1980s the central research library added more than 125,000 square feet (12,000 m2) of space and literally miles of bookshelf space to its already vast storage capacity to make room for future acquisitions. This expansion required a major construction project in which Bryant Park, directly west of the library, was closed to the public and excavated. The new library facilities were built below ground level and the park was restored above it.

In the three decades before 2007, the building's interior was gradually renovated.[27] On December 20, 2007, the library announced it would undertake a three-year, $50 million renovation of the building exterior, which has suffered damage from weathering and pollution.[31] The renovation was completed on time, and on February 2, 2011 the refurbished facade was unveiled.[32] The restoration design was overseen by Wiss, Janney, Elstner Associates, Inc., whose previous projects include the Metropolitan Museum of Art's limestone facades and the American Museum of Natural History, made of granite.[33] These renovations were underwritten by a $100-million gift from philanthropist Stephen A. Schwarzman, whose name will be inscribed at the bottom of the columns which frame the building's entrances.[34] Today the main reading room is equipped with computers with access to library collections and the Internet and docking facilities for laptops. There are special rooms for notable authors and scholars, many of whom have done important research and writing at the Library.[8]
[edit] Other research branches

Even though the central research library on 42nd Street had expanded its capacity, in the 1990s the decision was made to remove that portion of the research collection devoted to science, technology, and business to a new location. The new location was the abandoned B. Altmandepartment store on 34th Street. In 1995, the 100th anniversary of the founding of the library, the $100 million Science, Industry and Business Library (SIBL), designed by Gwathmey Siegel & Associates of Manhattan, finally opened to the public. Upon the creation of the SIBL, the central research library on 42nd Street was renamed the Humanities and Social Sciences Library.







Science, Industry and Business library

Today there are four research libraries that comprise the NYPL's outstanding research library system which hold approximately 44,000,000 items. Total item holdings, including the collections of the Branch Libraries, are 50.6 million. The Humanities and Social Sciences Library on 42nd Street is still the heart of the NYPL's research library system but the SIBL, with approximately 2 million volumes and 60,000 periodicals, is quickly gaining greater prominence in the NYPL's research library system because of its up-to-date electronic resources available to the general public. The SIBL is the nation's largest public library devoted solely to science and business.[35] The NYPL's two other research libraries are the Schomburg Center for Research and Black Culture, located at 135th Street and Lenox Avenue in Harlem and the New York Public Library for the Performing Arts, located at Lincoln Center. In addition to their reference collections, the Library for the Performing Arts and the SIBL also have circulating components that are administered by the NYPL's Branch Libraries system.
[edit] Recent history

Unlike most other libraries, such as the Library of Congress, the New York Public Library was not created by government statute. From the earliest days of the New York Public Library, a tradition of partnership of city government with private philanthropy began, which continues to this day.[8] As of 2010, the research libraries in the system are largely funded with private money, and the branch or circulating libraries are financed primarily with city government funds. Until 2009, the research and branch libraries operated almost entirely as separate systems, but that year various operations were merged. By early 2010, the NYPL staff had been reduced by about 16 percent, in part through the consolidations.[36]

In 2010, as part of the consolidation program, the NYPL moved various back-office operations to the new Library Services Center building in Long Island City using a former warehouse renovated for $50 million. In the basement, a new, $2.3 million book sorter uses bar codes on library items to sort them for delivery to 132 branch libraries. At two-thirds the length of a football field, the machine is the largest of its kind in the world, according to library officials. Books located in one branch and requested from another go through the sorter, which cut the previous waiting time by at least a day. Together with 14 library employees, the machine can sort 7,500 items an hour (or 125 a minute). On the first floor of the Library Services Center is an ordering and cataloging office; on the second, the digital imaging department (formerly at the Main Branch building) and the manuscripts and archives division, where the air is kept cooler; on the third, the Barbara Goldsmith Preservation Division, with a staff of 10 (as of 2010) but designed for as many as 30 employees.[36]

The NYPL maintains a force of NYC special patrolmen who provide security and protection to various libraries and NYPL special investigators who oversee security operations at the library facilities. These officials have on-duty arrest authority granted by NYS penal law; however, some library branches use contracted security guards for security.
[edit] Controversies

The contraction of services and collections has been a continuing source of controversy since 2004 when David Ferriero was named the Andrew W. Mellon Director and Chief Executive of the Research Libraries.[37] NYPL had engaged consultants Booz Allen Hamilton to survey the institution, and Ferriero endorsed the survey's report as a big step "in the process of reinventing the library".[38] The consolidation program has resulted in the elimination of subjects such as the Asian and Middle East Division (formerly named Oriental Division) as well as the Slavic and Baltic Division.[39]

A number of innovations in recent years have not been without detractors.

NYPL announced participation in the Google Books Library Project, which involves a series of agreements between Google and major international libraries through which a collection of its public domain books will be scanned in their entirety and made available for free to the public online.[40] The negotiations between the two partners called for each to project guesses about ways that libraries are likely to expand in the future.[41] According to the terms of the agreement, the data cannot be crawled or harvested by any other search engine; no downloading or redistribution is allowed. The partners and a wider community of research libraries can share the content.[42]

The sale of the separately endowed former Donnell Library in mid-town has not been without its critics.[43] The elimination of Donnell also meant the dissolution of children's, young adult and foreign language collections. The Donnell Media Center was also dismantled, with parts of its collections redistributed.[44]

These changes have been justified as the road to new collaborations and new synergy,[45] however, restructuring has meant that several veteran librarians with institutional memory have left and age-level specialists in the boroughs have been cut back.[46]










A panoramic view of the Rose Main Reading Room, facing south










The Epiphany branch, on East 23rd Street in Manhattan
[edit] Branch libraries

The New York Public Library system maintains its commitment to being a public lending library through its branch libraries in The Bronx, Manhattan and Staten Island, including the Mid-Manhattan Library, The Andrew Heiskell Braille and Talking Book Library, the circulating collections of the Science, Industry and Business Library, and the circulating collections of the Library for the Performing Arts. The branch libraries comprise the third largest library in the United States.[47] These circulating libraries offer a wide range of collections, programs, and services, including the renowned Picture Collection at Mid-Manhattan Library and the Media Center at Donnell.

Of its 82 branch libraries, 35 are in Manhattan, 34 are in the Bronx, and 12 are in Staten Island.

Currently, the New York Public Library consists of 87 libraries: four non-lending research libraries, four main lending libraries, a library for the blind and physically challenged, and 77 neighborhood branch libraries in the three boroughs served. All libraries in the NYPL system may be used free of charge by all visitors. As of 2010, the research collections contain 44,507,623 items (books, videotapes, maps, etc.). The Branch Libraries contain 8,438,775 items.[48] Together the collections total nearly 53 million items, a number surpassed only by the Library of Congress and the British Library.

Taken as a whole the three library systems in the city have 209 branches with 63 million items in their collections.[49]
[edit] Services
[edit] ASK NYPL







Christmas tree in the main entrance to the NYPL at Astor Hall

Since 1968 Telephone Reference has been an integral part of The New York Public Library's reference services, although it existed long before in a limited way. Now known as ASK NYPL,[50] the service provides answers by phone and online via chat and e-mail 24 hours a day, 7 days per week. Library users can ask reference questions in Spanish and English and seek help at anytime through online chat via the Library's website. Through participation in an international cooperative, the Library receives support answering questions outside regular hours.

The service fulfilled nearly 70,000 requests for information in 2007. Inquiries range from the serious and life-changing (a New Orleans resident who lost his birth certificate in Katrina needing to know how to obtain a copy; turns out he was born in Brooklyn), to the fun or even off-the-wall (a short-story writer researching the history of Gorgonzola cheese). In 1992 a selection of unusual and entertaining questions and answers from ASK NYPL was the source for Book of Answers: The New York Public Library Telephone Reference Service's Most Unusual and Entertaining Questions, a popular volume published by Fireside Books. National and international questioners have included scores of newspaper reporters, authors, celebrities, professors, secretaries, CEOs, and everyone in between.

In 2008 The New York Public Library's ASK NYPL reference service introduced two enhancements that improve and expand the service.

The Library recently launched 917-ASK-NYPL, a new easier to remember telephone number for Library information and for asking reference questions. Every day, except Sundays and holidays, between 9:00 a.m. and 6:00 p.m. EST/EDT, anyone, of any age, from anywhere in the world can telephone 917-275-6975 and ask a question. The library staff will not answer crossword or contest questions, do children's homework, or answer philosophical speculations.[51]
[edit] Website

The New York Public Library website[52] provides access to the library's catalogs, online collections and subscription databases, and has information about the library's free events, exhibitions, computer classes and English as a Second Language classes. The two online catalogs, LEO[53] (which searches the circulating collections) and CATNYP[54] (which searches the research collections) allow users to search the library's holdings of books, journals and other materials. The LEO system allows cardholders to request books from any branch and have them delivered to any branch.

The NYPL gives cardholders free access from home[55] to thousands of current and historical magazines, newspapers, journals and reference books in subscription databases, including EBSCOhost,[56] which contains full text of major magazines; full text of the New York Times[57] (1995–present), Gale's Ready Reference Shelf[58] which includes the Encyclopedia of Associations and periodical indexes, Books in Print;[59] and Ulrich's Periodicals Directory.[60]

The NYPL Digital Gallery[61] is a database of over 700,000 images digitized from the library's collections. The Digital Gallery was named one of Time Magazine's 50 Coolest Websites of 2005[62] and Best Research Site of 2006[63] by an international panel of museum professionals.

Other databases available only from within the library[64] include Nature, IEEE and Wiley science journals, Wall Street Journal archives, and Factiva.
[edit] Controversies



A new NYPL strategy adopted in 2006 anticipated merging branch and research libraries into "One NYPL". The organizational change anticipated a unified online catalog for all the collections, as well as one card for both branch and research libraries.[44]

Despite public relations' assurances, the 2009 website and online-catalog transition did not proceed smoothly, with patrons and staff equally at a loss for how to work effectively with the new system. Reassuring press releases followed the initial implementation, and notices were posted in branch and research libraries.[65]


New York Public Library Elevation
[edit] In popular culture

The historian David McCullough has described the New York Public Library as one of the five most important libraries in the United States, the others being the Library of Congress, the Boston Public Library, and the university libraries of Harvard and Yale.[66][verification needed] Film
The NYPL has appeared in feature films. It serves as the backdrop for a central plot development in the 2002 film Spider-Man and a location in the 2004 apocalyptic science fiction film The Day After Tomorrow. In the 1978 film, The Wiz, Dorothy and Toto stumble across it, one of its lions comes to life, and joins them on their journey out of Oz.
It is also featured prominently in the 1984 film Ghostbusters with three of the titular protagonists encountering the ghost of a librarian named Eleanor Twitty, who becomes violent when approached. Her origins and the library's prominent standing are explored in the video game sequel, Ghostbusters: The Video Game. In May 2010, the library invited comedy group Improv Everywhere to put on a brief performance in the main reading room based on ghostbusters as a promotional stunt.[67]
Other films in which the library appears include 42nd Street (1933), Portrait of Jennie (1948), Breakfast at Tiffany's (1961), You're a Big Boy Now (1966), A Boy Named Charlie Brown (1969), Beneath the Planet of the Apes (1970), Chapter Two (1979), Escape from New York (1981), Prizzi's Honor (1985), Regarding Henry (1991), The Thomas Crown Affair (1999), The Time Machine (2002), and Sex and the City (2008).[68]
A thinly-disguised NYPL is the employer of a librarian with access to many mythical objects imparting magical powers for fighting evil in a series of films starring Noah Wyle. The first of the series is The Librarian: Quest for the Spear. Television
It was in the pilot episode of the ABC series Traveler as the Drexler Museum of Art.
The animated television series Futurama has Fry confronting a giant brain there in the episode "The Day the Earth Stood Stupid".
In an episode of Seinfeld, Cosmo Kramer (Michael Richards) dates an NYPL librarian, Jerry Seinfeld is accosted by a library cop (Philip Baker Hall) for late fees, and George Costanza (Jason Alexander) encounters his high school gym teacher living homeless on the its steps.
It is the setting for much of "The Persistence of Memory", the eleventh part of Carl Sagan's Cosmos TV series. Literature
Lynne Sharon Schwartz's The Writing on the Wall (2005) features a language researcher at NYPL who grapples with her past following the September 11, 2001, attacks.
Cynthia Ozick's 2004 novel Heir to the Glimmering World, set just prior to World War II, involves a refugee-scholar from Hitler's Germany researching the Karaite Jews at NYPL.
In the 1996 novel Contest by Matthew Reilly, the NYPL is the setting for an intergalacticgladiatorial fight that results in the building's total destruction.
In the 1984 murder mystery by Jane Smiley, Duplicate Keys, an NYPL librarian stumbles on two dead bodies, c. 1930.
In Middlesex by Jeffrey Eugenides, the main character visits the NYPL to look up her condition in the dictionary.
Allen Kurzweil's The Grand Complication is the story of an NYPL librarian whose research skills are put to work finding a missing museum object.
Lawrence Blochman's 1942 mystery Death Walks in Marble Halls features a murder committed using a brass spindle from a catalog drawer.
A lightly fictionalized portrait of the Jewish Division's first chief, Abraham Solomon Freidus, is found in a chapter of Abraham Cahan's The Rise of David Levinsky (1917).
Linda Fairstein's Lethal Legacy (2009) is mainly centered around the library.
Smaller mentions of the library can be found in:
Henry Sydnor Harrison's V.V.'s Eyes (1913)
P. G. Wodehouse's A Damsel in Distress (1919)
Christopher Morley's short story "Owd Bob" in his humor book Mince Pie (1919)
James Baldwin's Go Tell It On the Mountain (1953)
Bernard Malamud's short story "The German Refugee" (in his Complete Stories [1997]; originally published in the Saturday Evening Post in 1963)
Stephen King's Firestarter (1980)
B. J. Chute's The Good Woman (1986)
Sarah Schulman's Girls, Visions and Everything (1986)
Isaac Bashevis Singer's posthumous Shadows on the Hudson (1998) Poetry

Both branches and the central building have been immortalized in numerous poems, including:
Richard Eberhart's "Reading Room, The New York Public Library" (in his Collected Poems, 1930–1986 [1988])
Arthur Guiterman's "The Book Line; Rivington Street Branch, New York Public Library" (in his Ballads of Old New York [1920])
Lawrence Ferlinghetti's "Library Scene, Manhattan" (in his How to Paint Sunlight [2001])
Muriel Rukeyser's "Nuns in the Wind" (in The Collected Poems of Muriel Rukeyser [2005])
Paul Blackburn's "Graffiti" (in The Collected Poems of Paul Blackburn [1985])
E.B. White's "Reading Room" (Poems and Sketches of E.B. White [1981])
Susan Thomas'"New York Public Library" (the anthology American Diaspora [2001])
Aaron Zeitlin's poem about going to the library, included in his 2-volume Ale lider un poemes [Complete Lyrics and Poems] (1967 and 1970) Other
Excerpts from several of the many memoirs and essays mentioning the New York Public Library are included in the anthology Reading Rooms (1991), including reminiscences by Alfred Kazin, Henry Miller, and Kate Simon.
A replica of the library is also featured in Universal Studios Singapore and Universal Studios Florida
[edit] Other New York City library systems

評論：自戀的時代

特朗普裝扮成洛基，普京赤裸著上身。政客們的這些低級的表演能夠成功，我們也有一定的責任。

    

（德國之聲中文網）11月底，美國總統特朗普發的一條推文引發轟動。推特上展示的是一幅將特朗普的頭用修圖軟件體貼到一個肌肉男身上。當然，這個肌肉身不屬於特朗普（眾所周知，這位美國總統偏肥胖），而屬於電影《洛基》中的拳擊手洛基（Rocky Balboa）。

《世界報》（Die Welt）這樣寫道：這條推文"最終證明了這一論點：在白宮坐著一位思維猶如15歲青少年的總統。"然而，對特朗普這樣的人來說，這種批評完全無關痛癢。

普京曾多次公佈自己赤裸著上身的照片，打造“硬漢”形象

他們為何可以如此？

當然，這位美國總統並不是唯一在公眾面前表現出具有無限想像力的人。在表現男子氣概方面，俄羅斯總統普京無人能及。他不需美圖，就敢亮出自己赤裸的真實上身。昔日英國貴族學校的學生約翰遜喜歡體現自己的"哥們"形象；土耳其總統埃爾多安願意將自己扮成蘇丹，如果金正恩讓人給其畫像的話，他會將自己描繪成一個神。另外，還有人記得一邊執政，一邊舉辦"Bunga-Bunga"（性愛派對）的前意大利總理貝盧斯科尼嗎？

並不是說，這些或多或少上了些年紀的老男人只是為了開心玩玩這種遊戲而已。他們之所以這樣做，主要是因為他們以此可以獲得成功。即使在民主國家，約翰遜也能夠在英國脫歐問題上撒彌天大謊，而且並沒有影響他12月中旬選舉獲勝。特朗普的青春期行為也找到了忠實擁護者，他連任的可能性比以往任何時候都要大。

為什麼會這樣？難道這些人的行為不被認為是令人尷尬的嗎？幾年前這還是無法想像的事情，而他們為什麼現在這樣做能夠成功？

答案很簡單：這些人的自戀引起共鳴，因為我們每個人都有一點自戀。當我們在社交網絡上展示自己時，首先表露的就是自戀。

本文作者、德國之聲評論員Martin Muno

社交媒體讓人更自戀

以TikTok（抖音）為例，在全球範圍內每月有超過10億人使用該平台，因此可以說它比Instagram、Snapchat、You tube更為成功。人們通常會自己在TikTok上發布簡短的視頻，主要是自己的視頻，常常是對口型唱流行歌曲或者跟著這些歌曲舞蹈。這些視頻有時很有趣，但也常常令人尷尬，真正的好視頻並不多見。TikTok徹底驗證了安迪·沃霍爾（Andy Warhol）的一句名言：在未來，每個人都能成名15分鐘。

再或是Instagram：其主題標籤" #Selfie"（自拍）包含有近5億張照片、視頻。許多用戶只發布關於自己的照片，而在以文字為主的網站也是如此。用戶在Facebook上傳的帖子中，自己的照片佔80％。心理學家認為，在日常生活中，我們僅佔用大約30％至40％的時間談論自己，社交媒體則是表現自己的一個巨大平台，而並沒有什麼社會性。

如果認為自我表現對我們來說具有建設性作用，這種看法是錯誤的。因為我們的自我發展僅在相互之間和社會的互動中進行。如果我們僅通過自拍的視角去看世界，如果我們只看到自己而不再看到其他人，如果我們將社交網站與社會共存相混淆，那麼我們對於像特朗普或者約翰遜這樣的人接管政權，就不應再感到震驚。

德國之聲致力於為您提供客觀中立的新聞報導，以及展現多種角度的評論分析。文中評論及分析僅代表作者或專家個人立場。

DW.COM

自拍- 自卑、自信、自戀？

8000多萬人口的德國有2500萬人喜歡自拍，而最愛自拍的德國城市正在舉辦“自拍”展覽。(12.10.2015)  

特朗普：愛罵人又自戀為何還能“圈粉“無數？

美國大選在即，本屆競選過程中殺出的特朗普可謂是有史以來最不尋常的美國總統候選人之一。這名破具爭議的富豪到底是個什麼樣的人？兩名特朗普傳記作者前來揭底。(05.11.2016)  

專訪：自戀與特朗普——除了自我，沒有其它?

病態自戀者不接受批評，認為自己絕對正確。是的，這聽上去像是在說特朗普。心理治療醫生瓦德茨基指出，“大嘴”的後面常常是精神侏儒。(14.01.2018)  

• 日期 29.12.2019
• 作者 Martin Muno

***

The Productive Narcissist: The Promise and Peril of Visionary Leadership

In these confusing and uncertain times, the cry goes out for more visionary leaders. We need men and women who can lead us out of the darkness of despair and short-term Wall Street thinking into the clear air of vision, goals, and high achievement. Enter the narcissistic leader. Narcissists admire themselves, they believe in themselves. They have complete confidence in themselves, even though they may think they can do more than they really can.
The dictionary tells us that narcissism is "a psychological condition characterized by self-preoccupation, lack of empathy, and unconscious deficits in self-esteem." Maccoby-a psychoanalyst, anthropologist, and consultant-takes us further. He explains that "narcissistic leaders are not a product of their time; rather, they are a product of their personalities, and are psychologically suited to rise, and fall, during disruptive times." Sometimes their grandiosity serves them-and their organizations-well...especially if they (or their organizations) are protected by counterbalancing aides or confidants. Sometimes that grandiosity can be their downfall.
In this enjoyable and education book, Maccoby describes several psychological styles and how they influence leadership behavior. He concentrates on the productive narcissist, results-focused aggressive leaders who can valiantly lead their organizations to the brink of destruction. The good news---bad news juxtaposition is explored in page after page, with enlightening examples from the lives of historical figures like Napoleon to today's leaders whom we read about in the newspapers daily. Not only does he name names, but Maccoby goes deep into who these leaders are, what they did, why they did it, and the impacts of their behavior. It's a fascinating read that will have you bobbing your head with understanding and insight.
This book will be valuable to leaders-and not just narcissists. Human resource professionals, executive coaches, and venture capitalists will find the knowledge in these pages to be quite useful. A self-test, with full explanation of scoring and meaning, adds value to the book. Index.
類別： 行銷‧趨勢‧理財>管理領導
叢書系列：BIG系列
作者：麥可﹒麥考比
Michael Maccoby
譯者：齊思賢
出版社：時報文化
出版日期：2003年

許多趾高氣揚、不可一世的企業執行長紛紛在二○○二年中箭落馬、名聲掃地，連帶拖累原本氣勢直逼日月的所 屬公司，外人不禁好奇，美國企業這波弊案風潮為什麼牽連如此之廣？持續如此之久？有人怪罪到企業過於重視股價，以及執行長股票選擇權和股東價值的連動關 係，導致公司高層汲汲於美化帳面、甚至乾脆直接捏造獲利。也有人指出，一九九○年代末期網路及股市熱潮，造成美國聯邦準備理事會（Fed）主席葛林史班 （Alan Greenspan）所說的「非理性繁榮」（irrational exuberance），等到風靡一時的熱情消褪後，這股熱潮就和其他投機泡沫一樣隨風而逝，只留下不堪聞問的企業財報。

目 錄

序：出了什麼差錯？ 謝辭 本書緣起 前言 「改變全世界」的性格 第一章：了解性格的種類 第二章：各種性格的特質 第三章：建設性的自戀 第四章：策略智慧 第五章：和建設性自戀者共事 第六章：前瞻式領導的優缺點 附錄：解讀問卷調查的結果

延 伸 閱 讀

‧快樂領導：領導人新經 作者： 心學 等 譯者： 定價：180元 特價：153元 ▼ 內容簡介 進入知識經濟的時代，傳統的統馭管理價值，已不足以領導知識工作者。身為企業組織的領導者，除了必須隨時學習知識、充實智能之外，更需領悟，以慈悲、感恩 之心面對每日的人事物。本書以歷代智者的箴言、生活中的小故事，指引企業領導者，以及有志成為領導者的社會菁英，以虛懷若谷的企業家風範，堅毅、不退縮的 企業家精神，經營事業與家庭親子關係，作個身心自在的企業經營者。。 真正的富有是歡喜，而不是財富；真正的貧窮是無知，而不是無錢。 ──星雲大師

‧

《紐約時報》對新冠病毒報導移除付費牆 ，歡迎查看時報關於本次疫情的詳細報導 。


中文版有月餘"每日疫情簡報" (可訂閱，免費)，譬如11日：3月11日疫情简报 - 英国卫生部次官确诊；习近平赴武汉意味着什么 (3月11日疫情簡報 - 英國衛生部次官確診；習近平赴武漢意味著什麼)

• 作者：楊牧
• 出版社：洪範
• 出版日期：1977年

自 序
歸航之一
歸航之二
臺灣的鄉下
鯉魚潭
瑞穗舊稱水尾
山谷記載

夜宿大度山--20周年畢業3824人 1975學生數3929人 "如果東海決定以幾何級數擴大招生 它必須以幾何級數加聘教授添置設備"

又見臺南
聞彰化縣政府想拆孔廟
偉大的吳鳳
柏克萊精神
卜弼德先生
我所不知道的康橋
漢城 . 一九七四 . 贈許世旭
覃子豪紀念
徐道鄰先生
讀書萬卷且讀律
新潮叢書始末
外文系是幹甚麼的 ?
人文教育即大學教育
後 記


　 本書為楊牧第一本隨筆散文集，收作品二十篇，三分之二為他在臺灣大學任教時所撰之觀察及感懷，大半為「結廬隨筆」專欄之精髓，觸及面極為廣泛，頗 能看到楊牧以詩人之心擴張的介入抱負，對於現代社會、文化、教育的體會和批判，於題材風格方面超越了《葉珊散文集》時代之抒情飄逸，也大異於《年輪》一書 所代表的寓言濃郁，以切入直指之文筆面對現實人生的問題，探討知識份子的社會良知，闡揚勇於任事的現代精神。
作者簡介
楊　牧
　　臺灣花蓮人，一九四○年生，東海大學畢業，美國愛荷華大學（Iowa）碩士，柏克萊（Berkeley）加州大學博士；現任國立東華大學教授兼人文社會科學院院長。著有散文集十種，及詩集、戲劇、評論、翻譯、編纂等中英文三十餘種。




***

• 作者：楊牧/著
• 出版社：洪範
• 出版日期：1982年

“In vain do we extend our view into the heavens, and pry into the entrails of the earth, in vain do we consult the writings of learned men, and trace the dark footsteps of antiquity; we need only draw the curtain of words, to behold the fairest tree of knowledge, whose fruit is excellent, and within the reach of our hand.” – George Berkeley , ‘Principles of Human Knowledge and Three Dialogues’

George Berkeley was born #OTD in 1685. Drawing on the empiricism of John Locke, he argued that there is no existence independent of subjective perception (esse est percipi).

Berkeley's idealism started a revolution in philosophy. As one of the great empiricist thinkers he not only influenced British philosophers from Hume to Russell and the logical positivists in the twentieth-century, he also set the scene for the continental idealism of Hegel and even the philosophy o...


GLOBAL.OUP.COM
Principles of Human Knowledge and Three Dialogues
Berkeley's idealism started a revolution in philosophy. As one of the great empiricist thinkers he not only influenced British…

2014.2 繆詠華分享了 Paris d'antan的相片。我愛的普維(Jacques Prévert)於114年前的2月4日誕生。
（以下摘自拙作《巴黎文學散步地圖》）
雅克·普維同時是詩人、作詞家，也是著名的電影編劇，寫過許多影史留名的雋永對白，如雷諾瓦(Jean Renoir, 1894-1979)執導的黑色幽默片《朗基先生的罪行》(Le Crime de Monsieur Lange, 1935)，以及由馬塞卡內《霧港》 (Quai des brumes, 1935)、《破曉》 (Le Jour se lève, 1939)、《夜間訪客》(Les Visiteurs du soir, 1941)、《天堂的孩子》 (Les Enfants du paradis, 1944)等。
其風格深受超現實主義之影響，極擅長於賦予日常生活中的種種簡單事物，以詩喻意。舉凡街頭的一個小角落、書本的某個小篇章、一頓簡單的早餐，他處處、事事、時時皆可以成詩。時而以文字遊戲的方式，時而以簡單、單調、機械化的描述方式去表達他對世事的觀察與感受。

在他的作品之中，一般讀者可能最熟悉的便是由尤·蒙頓(Yves Montant)所演唱的＜枯葉＞ (Les Feuilles mortes)*hc 。普維同時更是編劇好手，曾與多位名導演合作，其於一九四五年所寫的電影劇本《天堂的小孩》 (Les Enfants du paradis)更被視為最具詩意的寫實經典鉅作，在電影史上有著崇高的地位。惟本片雖被譯為《天堂的小孩》，片名美則美矣，需知paradis一字除天 堂外，亦代表劇院中最高層、最便宜的座位。在此片中，paradis應指後者而言。
其實我跟普維尚稱挺有淵源的。除了我學會的第一首法文詩就是普維的＜早餐＞(Déjeuner du matin)外，二Ｏ一一年金馬獎觀摩影展中，我也審譯了《天堂的小孩》一片的中文對白翻譯。片中對白句句雋永、字字珠璣，全片詩意盎然，是我心目中的最 佳經典名片，而片中「巴黎對相愛的人而言太小了」(Paris est trop petit pour ceux qui s’aiment)，絕對排得上影壇十大經典把妹對白名言！L'incomparable Jacques Prévert (1900-1977) est né il y a 114 ans. Le voici photographié par Robert Doisneau, rue Lhomond, en 1955... "Je vous salue ma rue" - Prévert.

*****
 2013游常山‎‏

中山大學 外文系教授 張錦忠
讀Jacques Prévert／卜列維／裴外

昨晚陳瑞獻電郵提起Jacques Prévert，於是找出他譯的【雅克．卜列維詩選】翻翻。這是法國駐星大使館文化部一九七○年出版的書。Leonard在「前言」寫道：「卜列維生活，此外，他寫作，像一個工作的人，在工作之外唱歌。卜列維吃了東西，正在吃，愛過也被愛，享受陽光，並且從巴黎的街道吸取快樂。」這裡先抄幾首短詩應景。詩，也可以這樣趣味盎然的。

【秋】
一隻馬潰倒在小徑的中部
葉子落在他的身上
我們的愛情抖著
太陽也是這樣。

【無題】
在草上進餐
快吃吧
有一天
草會在你上面進餐

【無題】
如果我有一個妹妹
我愛你會更甚於愛我妹妹
如果我有全世界的黃金
我會把它拋在妳眼前
如果我有一群妻妾
妳將是我最寵愛的。

 ******
斐外的詩, , 斐外(Jacque Prevert, 1900-1977)中譯, 斐外, 非馬譯. 高雄:大舞台書苑 1978 從英譯本轉譯 Paroles 半部



非馬選譯法國現代詩人裴外的詩

大舞台書苑出版社，高雄，台灣

1978年1月15日初版

全書共173頁，每一張幻燈片上有兩頁。

請用鼠標點擊翻閱 《裴外的詩》

頁126




失時
在工廠的大門口
那工人突然停步
為這好天氣所絆住
他轉身看著太陽
紅而圓
在他那封閉的天空裡微笑
他霎了霎一隻眼----
喂 太陽同志
那豈不是天大的損失
把那麼美好的一天
送給上司

****

蓬草編譯《不聽話孩子的故事：世界文壇大師的童話選》台北：聯合文學出版社，1987
有
普雷"衛"爾的"不聽話孩子的故事八則"

尤"揑"斯訶的"童話四則"
卡爾維諾的"義大利童話集"
阿斯杜里亞斯"什麼也有了的人"
以撒 辛格 "一個天堂的故事"
阿馬多"貓和燕子"

Books

• Paroles (1946)
• Le Petit Lion, illustrated by Ylla (1947, reprinted 1984)
• Contes pour enfants pas sages (Tales for naughty children) (1947)
• Des Bêtes, illustrated by Ylla (1950, reprinted 1984)
• Spectacle (1951)
• Grand bal du printemps, with photographs by Izis Bidermanas (1951)
• Lettre des îles Baladar (Letter from the Baladar Islands) (1952)
• Tour de chant (1953)
• La pluie et le beau temps (Rain and sunshine) (1955)
• Histoires (1963) (Stories)
• Le Cirque d'Izis, with photographs by Izis Bidermanas and original artwork by Marc Chagall (André Sauret, 1965)
• Fatras (1966)
• Charmes de Londres, with photographs by Izis Bidermanas (Editions de Monza, 1999)

Selected filmography

Prévert wrote the scenarios and sometimes the dialogue in the following films:

• Le Crime de monsieur Lange (1935)
• Drôle de drame (1937)
• Quai des brumes (1938)
• Les Disparus de Saint-Agil (1938)
• Le Jour se lève (1939)
• Remorques (1941)
• Les Visiteurs du soir (1942)
• Les Enfants du paradis (1945)
• Les Portes de la nuit (1945)
• Le Petit Soldat (The Little Soldier) (short animated film, 1947), with Paul Grimault, after The Steadfast Tin Soldier by Hans Christian Andersen
• La Bergère et le ramoneur (The Shepherdess and the Chimney Sweep) (animated film, 1953), with Paul Grimault after tale by Hans Christian Andersen, later revised and finished as Le Roi et l'oiseau
• Le Petit Claus et le Grand Claus, by Pierre Prévert, after the tale Little Claus and Big Claus by Hans Christian Andersen (live action and animation, 1964)
• Le diamant (The diamond) (short animated film, 1970), with Paul Grimault, complement to L'Aveu of Costa-Gavras
• Le Chien mélomane (The Music-Loving Dog) (short animated film, 1973), with Paul Grimault
• Le Roi et l'oiseau (animated film, 1980), with Paul Grimault

談話集
普雷維爾/雅克·普雷韦尔
法国著名诗人

话语集㊣
作　　者：（法）普雷维尔，陈玮译
出 版 社： 上海人民出版社
出版时间： 2010-9-1

"他在法国呆过一年，因此受法国诗歌文学的影响极深。然而最爱的诗人，却不是最为人熟知的波德莱尔或者兰波，而是二战后涌现出的写实派诗人雅克·普雷维尔。
“这是我最最爱的诗人，他的诗有很多我直到现在都能背诵。”提到普雷维尔的名字，老布激动地摘下自己的眼镜，“我这就背一首给你听听，这也是普雷维 尔所有的诗里我最喜欢的一首：
我去鸟市/
买了几只鸟/
为了你，我的爱/
我去花市/买了一些花/
为了你，我的爱/
我去废铁市场/
买了一堆铁链/
沉重的枷锁 /
为了你，我的爱/
而后我去了奴隶市场/
我找寻你/
却找不到你/
我的爱/”
他的双手在空中轻微地颤动，捕捉着诗歌无形的节奏。“听最后一句话，是多么伤感。找你，却找不到你。爱是不能用礼物买来的，爱一个人不是为了把他 （她）绑在自己身边。你去奴隶市场，只能买到奴隶，买不回自己的爱人。所以其实，这首诗是描述了一种根本不存在的爱。因为没有自由，就没有爱。”
普雷维尔在1977年死于癌症，老布至今为自己曾经和这位大诗人喝过一杯咖啡而自豪。他说，那是值得珍藏一生的记忆。"---布帅专访:金钱意味着自由 撒谎是婚姻里必须的事 2010-08-02 14:17:22　来源: 东方体育日报(上海)　

　　《话语集》内容简介：定稿于1947年的《话语集》收入了1930—1944年间的九十五首诗，体裁不拘一格，语言亦庄亦谐，难以分类，模糊了散文和 诗的常规界限。其开篇一首《试论法国–巴黎一场头面化妆晚宴》令人耳目一新，把超现实主义的讽刺与无秩序推向极致；而他独创的“快讯”式和“清单”式诗体 则丰富了诗歌的形式。半个世纪以来，《话语集》先后被译成数十多种语言广为流传，经久不衰。《话语集》出版至今，在法国已发行三百余万册，堪称“诗歌已 死”时代的诗歌奇迹。 　　《话语集》适用于：诗歌爱好者 法国文学研究者。

作者简介

作者：(法国)雅克●普雷维尔 译者：陈玮 编者：树才 秦海鹰 　　雅克●普雷维尔（Jacques Prévert，1900—1977），20世纪法国最无书卷气而深得民心的诗人和最富诗意、蜚声世界的剧作家。诗集有《话语集》、《晴雨集》、《杂物 堆》等；曾为《巴黎圣母院》和卡尔内执导的电影《雾岸》、《夜之门》、《戏楼儿女》等撰写剧本；大量诗歌被谱曲，《枯叶》被伊夫?蒙唐等二百多位歌手演 唱；有数百幅粘贴画留存于世。1992年伽利玛出版社将其全集收入“七星文库”并首次在圣经纸上印彩色插图，成为“七星文库”的一次革命。 作者：(法国)雅克?普雷维尔 译者：陈玮 编者：树才 秦海鹰 　　雅克?普雷维尔（Jacques Prévert，1900—1977），20世纪法国最无书卷气而深得民心的诗人和最富诗意、蜚声世界的剧作家。诗集有《话语集》、《晴雨集》、《杂物 堆》等；曾为《巴黎圣母院》和卡尔内执导的电影《雾岸》、《夜之门》、《戏楼儿女》等撰写剧本；大量诗歌被谱曲，《枯叶》被伊夫?蒙唐等二百多位歌手演 唱；有数百幅粘贴画留存于世。1992年伽利玛出版社将其全集收入“七星文库”并首次在圣经纸上印彩色插图，成为“七星文库”的一次革命。

图书目录

中译本序 民众诗人的话语 　　试描述法国－巴黎一场头面化妆晚宴 　　马的故事 　　捕鲸 　　美好季节 　　阿利坎特 　　家庭旧事或凶神狱警 　　我看见其中几个人…… 　　为了你，我的爱 　　伟大发明 　　事件 　　厉声开音符 　　天主经 　　塞纳街 　　笨学生 　　鲜花与花圈 　　返乡 　　音乐会没有成功 　　果核时节 　　蜗牛送葬曲 　　里维埃拉 　　懒觉 　　在我家里 　　猎童 　　家庭生活经 　　变幻的风景 　　在田野…… 　　人类的奋斗 　　我就是这样 　　血中的歌咏 　　清洗 　　倒戈 　　这场爱 　　手摇风琴 　　书法练习 　　早餐 　　刚强的女孩 　　愁思茫茫 　　绝望坐在长凳上 　　捕鸟者之歌 　　为了给小鸟画像 　　流沙 　　几乎 　　正路 　　伟人 　　手推车或伟大发明 　　最后的晚餐 　　尊贵家族 　　美术学院 　　三王来朝 　　圣经 　　打谷机 　　破碎的镜子 　　自由街区 　　新秩序 　　随小鸟而定 　　您将看到您将看到的 　　红霞无边 　　歌谣 　　法语作文 　　日食 　　狱卒之歌 　　红漆木马 　　愚蠢的断言 　　诞生 　　音信 　　集市 　　在花店 　　史诗 　　苏丹 　　节日活动继续 　　凡高的悲歌 　　星期天 　　公园 　　秋 　　夜巴黎 　　花束 　　芭芭拉 　　清单 　　比熙街如今…… 　　历史教训 　　荣耀 　　不能 　　会话 　　奥西里斯或逃往埃及 　　和平演说 　　查票员 　　向小鸟致敬 　　虚度的光阴 　　海军上将 　　战天使 　　卡鲁塞尔广场 　　行列 　　婚礼与盛宴 　　毕加索的漫步 　　毕加索的神灯 　　跋 　　附录一 重而不复的魔术 　　附录二 雅克?普雷维尔生平和创作年表

13、14兩天，在Facebook 約讀20篇引詩，沒收，覺得可惜。

Barnes Wallis 發明 bouncing bomb.
電影很難表現有爭議性的戰史......


The Dam Busters
English
《轟炸魯爾水壩記》（英語：The Dam Busters，又譯《敵後大爆破》）是於1955年上映的英國戰爭片，本片根據真實故事改編，由於本片故事是一連串軍事機密的秘密作戰，所以並沒有很詳細，西元2001年重拍此部經典電影，導演為喬納森·馬丁。