25年前在成都发生的事，其重要性足以让当地政府继续投入金钱和人力来钳制唐德英。她的遭遇展示了中国政府对于自己最近的历史是多么的惧怕。 25年前，政府用枪支和警棍镇压自己的人民。现在，它在部署更复杂的工具来控制人民，通过媒体审查制度及篡改自己的历史来打造爱国主义和民族认同感。 虽然无可否认中国的国民变得越来越富有，比天安门事件后要更自由，但唐德英的经验表明这种自由是有限的。仅仅是要留住记忆都被视为威胁到社会稳定。 在成都发生了什么很重要，因为它显示了中国政府的成功：不仅仅是控制人民，而且控制着他们的记忆。在当今的中国，记忆已成为了一种政治工具。 原文链接：After 25 Years Of Amnesia, Remembering A Forgotten Tiananmen
杜米埃 (H. Daumier 1808-79) 作的動人的小丑 (The Clown)，補捉到了波特萊爾散文詩中的某種情感：他宛如一位被遺忘的高貴人物，擬視遠方；群聚四散而去：唯獨一小孩用好奇的眼神看著他。系統與變異：淵博知識與理想設計法
Peter Gay: On the other hand, I know no prejudice so widely shared, no stereotype so facilely applied, as the notion that ''bourgeois'' means materialistic, philistine, narrow-minded, tasteless and prudish. Denigration of the class that emerged triumphant from the French Revolution and reigned supreme as ''Victorians'' has been with us since the early 19th century, epitomized in the caricatures of Daumier. Few contradictions reach so deep in our cultural sensibility as this triumphant ignominy.
Baudelaire: 波特萊爾的《惡之華》:題詠 （Epigraphes） 14奧諾雷．杜米埃肖像題詩 Vers Pour Le Portrait de M. Honore Daumier Gombrich 在Photographer as Artist: Henri Cartier-Bersson 一文中說Honoré Daumier更善於創造類型畫而非寫實
Daumier, Honoré (ônôrā' dōmyā'), 1808-79, French caricaturist, painter, and sculptor. Daumier was the greatest social satirist of his day. Son of a Marseilles glazier, he accompanied his family to Paris in 1816. There he studied under Lenoir and learned lithography. He soon began to contribute cartoons to the weekly Caricature. In 1832 his representation of Louis Philippe as Gargantua caused him six months' imprisonment. Two outstanding lithographs of 1834, Rue Transnonain and Le Ventre législatif [the legislative paunch] testify to his early direct and bitterly ironic approach. After the suppression of Caricature his work appeared in Charivari, where he mercilessly ridiculed the bourgeois society of his day in a highly realistic graphic style. Relished as cartoons in his time, Daumier's lithographs, of which he produced almost 4,000, are now considered masterpieces. He also painted about 200 small canvases of power and dramatic intensity that were stylistically similar to his lithographs. Among these are Christ and His Disciples (Rijks Mus.); Republic (Louvre); Three Lawyers (Phillips Gall., Washington, D.C.); the romantic Don Quixote and The Third-Class Carriage (both: Metropolitan Mus.). Daumier's sculpture includes over 30 small, painted busts. An example of his work in this medium is a statuette in the Walters Art Gallery, Baltimore. In his last years he suffered from increasing blindness. His financial condition was perilous. Corot put at his disposal a cottage in Valmondois, and it was there that Daumier died. Bibliography See his Teachers and Students (tr. 1970); catalog raisonné ed. by K. E. Maison (2 vol., 1968); biography by R. Rey (1985); studies by K. E. Maison (1960), O. Larkin (1966), H. P. Vincent (1968), and J. L. Wasserman (1969).
THE NEW York Times recently offered a revealing look at how family members of a senior Chinese political figure had amassed a nine-figure fortune. It also struck a welcome blow against an aggressive effort by Chinese authorities to censor such information not just from domestic media but also from the U.S. press. The 2,600-word report by Michael Forsythe, Chris Buckley and Jonathan Ansfield detailed the business holdings of family members of Zhou Yongkang, a former Politburo member, chief of the state security apparatus and overseer of the oil industry. The Times said three of Mr. Zhou’s relatives, including his son, had stakes in at least 37 companies in China, ranging from Audi dealerships to suppliers of oil-field equipment. The holdings were worth at least $160 million, the report said, not including real estate or any offshore bank accounts the family might possess.
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Mr. Zhou is the third present or former member of the Politburo’s Standing Committee who has been shown to have family members with assets of more than $150 million, the Times noted. The other two are former prime minister Wen Jiabao and Xi Jinping, the current Communist Party leader and president. Since becoming China’s top leader 18 months ago, Mr. Xi has launched an anti-corruption drive with Mr. Zhou as its most prominent target; the Times reported that six members of his family have been arrested in recent months. There have been no investigations of the families of Mr. Wen or Mr. Xi, however, and the Xi regime has gone to great lengths to suppress all reports about the vast accumulation of wealth by party leaders. Though Mr. Zhou has been purged — apparently for political reasons — no reporting about his family’s fortune has appeared in the Chinese press. Meanwhile, Chinese authorities have taken numerous steps to punish and deter the Times and Bloomberg News, which published extensive reports on Mr. Xi and Mr. Wen in 2012. Numerous journalists from the two organizations have been denied visas, and their Web sites in China have been blocked. Sadly, the campaign appears to have had an effect on Bloomberg. Faced with a sharp drop in the number of financial news terminals purchased in China, the company appeared to rein in its investigative reporting. According to reports by the Times and the Financial Times, a major story about the financial connections of China’s wealthiest man to the families of party leaders was spiked last November because of concerns about Beijing’s reaction. Though Bloomberg editors subsequently maintained that the story had been held for journalistic reasons, Bloomberg chairman Peter T. Grauer recently told a meeting of the Asia Society that “we may have kind of rethought — should have rethought” some China stories, the Times reported. Mr. Forsythe, a veteran reporter in China who worked on the withheld story, was fired from the company, and several other staffers subsequently departed. In addition to compromising its journalistic integrity, Bloomberg’s climbdown also raised the worrisome question of whether China could succeed in intimidating not just its own media but also those of the United States and other Western democracies. That’s why the Times deserves particular credit for having hired Mr. Forsythe after his firing and for continuing to pursue stories about the wealth of senior Chinese officials. The information is deeply revealing about the Chinese political system, and the country’s citizens deserve to know it.
Ranger Rick Jr., featuring Ricky Raccoon, a mascot for children ages 4 to 7, is a new magazine from the National Wildlife Federation, which is tapping into interest in ecology at an earlier age. ***** 天下網站http://www.cw.com.tw/article/article.action?id=5045266&page=2
近年來，《紐約時報》一直不斷進行人力削減的計劃，業務部門的人力已經大幅減少60％；2008年，更藉由優退以及解雇的方式一舉裁撤100位新聞部員工。前陣子，有30位廣告部門員工自願辦理優退。 儘管這次優退的人數不多，但卻令人不解。今年8月《紐約時報》才公布好消息，數位版訂戶超過53萬，第二季廣告營收下降到2.2億美元，訂閱收入則是增加8.3%，發行營收首度超越廣告營收。 這些正面消息至今仍印象深刻，為何會在此時宣布優退計劃？ 最重要關鍵即在於今日多數媒體面臨的難題：數位營收成長速度遠不如紙本營收衰退的速度與幅度。 根據前《舊金山紀事報》（San Francisco Chronicle） 編輯艾倫‧穆特（Alan D. Mutter）多年的研究統計： 1.過去1年，美國報紙每賺得1美元數位營收，就損失13美元的紙本營收。 2.過去6年，美國報紙每賺得1美元數位營收，就損失55美元的紙本營收。 如果拉長時間比較，經過通貨膨脹調整之後，2012年美國報紙整體營收完全倒退到1950年水準。 那麼《紐約時報》的情況又是如何？ 根據科技網站Business Insider推算： ◎平均每位紙本訂戶一年可為《紐約時報》創造1,100美元的營收，其中大約有650美元來自於紙本訂閱價格，450美元來自於廣告收入。 ◎平均每位數位版訂戶一年可為《紐約時報》創造175美元的營收，其中大約有150美元來自於數位訂閱的價格，其餘來自廣告收入。（以上的數據是假設紙本訂戶也會閱讀數位版內容，否則每位數位版訂戶創造的營收還會更高。） 由以上數據可明顯看出，紙本訂戶願意支付較高訂閱價格，平均創造的廣告營收，也高於數位訂戶。因此，儘管網站改採付費機制，數位版訂戶有所成長，但仍彌補不了紙本營收下滑所造成的損失。 《紐約時報》向來是美國媒體業進行數位創新的最前鋒，但至今仍無法完全擺脫裁員削減成本的命運，對於其他媒體同業而言，或許得更謹慎而務實看待數位內容的商業模式。（吳凱琳編譯） 【新聞來源】These Numbers Show Why The New York Times Is Firing More Journalists Newspapers Are Losing $13 Of Print Revenue For Every $1 Of Digital Revenue New York Times Seeks Buyouts From 30 in Newsroom
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HONG KONG — The Man Asian Literary Prize named 15 books as contenders for its 2012 award, chosen from a record 108 entries. Novels from nine countries made the first cut for Asia’s top literary honor, with a strong showing from South Asia. Three books originated from India – “Narcopolis” by Jeet Thayil, “Goat Days” by Benyamin and “Another Country” by Anjali Joseph – while two came from Pakistan, “Thinner Than Skin” by Uzma Aslam Khan and “Between Clay and Dust” by Musharraf Ali Farooqi. Turkey, China and Sri Lanka also generated two books each, while Malaysia, South Korea, Vietnam and Japan were represented with one book each.
The prize’s chair of judges, Maya Jaggi, noted the list’s breadth, adding that the books take readers “from the glaciers of northern Pakistan to the unforgiving Saudi desert; from an affluent Istanbul seaside resort to a Bombay opium den — and further afield to Montreal and Mexico.” Ms. Jaggi also pointed out the prominence of translated works. Seven books were translated into English from Chinese, Japanese, Korean, Turkish, French and Malayalam. Two of the novels, “Narcopolis” and Tan Twan Eng’s “The Garden of Evening Mists,” were previously shortlisted for this year’s Man Booker Prize for Fiction, which went to Hilary Mantel’s “Bring Up the Bodies.” Also notable on the list was “Silent House” by Turkish author Orhan Pamuk, who received the Nobel Prize in Literature in 2006.
While the Man Booker recognizes contemporary fiction from the British Commonwealth and Ireland, the Man Asian award focuses on novels by an Asian writer, either in English or translated into English, published in the previous calendar year. Its winner receives a prize of $30,000 and the translator, if any, $5,000. In a new rule, writers who have lost their Asian nationality through state action are also eligible for the award. The rule applied to two authors on this year’s longlist: Roma Tearn, a Sri Lankan-born British novelist whose book “The Road to Urbino” is in the competition, and Kim Thuy, a Montreal-based former refugee from Vietnam whose debut novel “Ru,” originally in French, won Canada’s Governor General’s Award in 2010. The Man Asian shortlist will be announced on Jan. 9, and the winner on March 14. The Man Group recently announced that it will step down from its position as sponsor following next year’s awards ceremony in Hong Kong. A new sponsor will be announced in April. Last year’s winning book was “Please Look After Mom” by South Korea’s Kyung-sook Shin. The complete longlist:
“Goat Days” by Benyamin (India)
“Between Clay and Dust” by Musharraf Ali Farooqi (Pakistan)
“Another Country” by Anjali Joseph (India)
“The Briefcase” by Hiromi Kawakami (Japan)
“Thinner Than Skin” by Uzma Aslam Khan (Pakistan)
“Ru” by Kim Thuy (Vietnam / Canada)
“Black Flower” by Young-Ha Kim (South Korea)
“Island of a Thousand Mirrors” by Nayomi Munaweera (Sri Lanka)
“Silent House” by Orhan Pamuk (Turkey)
“Honour” by Elif Shafak (Turkey)
“Northern Girls” by Sheng Keyi (China)
“The Garden of Evening Mists” by Tan Twan Eng (Malaysia)
“The Road To Urbino” by Roma Tearne (Sri Lanka / U.K.)
Kawakami Hiromi (川上 弘美 Kawakami Hiromi) born April 1, 1958, is a Japanese writer known for her off-beat fiction. She made her first debut as “Yamada ..
西方報業危機蔓延英國《金融時報》 格里克•維澤曼柏林, 揚•切恩斯基華沙, 雷切爾•桑德森米蘭, 舍赫拉查德•達內 德國的報業危機催生了一個新的複合名詞：Zeitungssterben——報紙之死。貝塔斯曼(Bertelsmann)的雜誌部門G+J宣布將停辦《德國金融時報》(Financial Times Deutschland)以及《法蘭克福評論報》(Frankfurter Rundschau)申請破產這兩件事發人深省。就連德國總理安格拉•默克爾(Angela Merkel)也致以同情之意，呼籲報業振作起來。 “我認為紙媒十分重要，”她在每週一期的網絡公告中寫道。但德國官員稱，報業慘淡並非德國所獨有。在德國註定將失去兩家優秀日報之際，西班牙正在裁撤編輯人員，意大利也不時傳出報紙合併的猜測。由於報紙本身規模和所服務市場都較小，一家歐洲報紙發生危機時不會像美國同類事件那樣影響深遠、充滿戲劇性。比如說，《芝加哥論壇報》(Chicago Tribune)的出版商Tribune公司於2008年申請破產，而就在一年前，山姆•澤爾(Sam Zell)才花費82億美元對該公司實施了槓桿收購。“但報業危機正在所有西方發達國家蔓延，”倫敦媒體諮詢機構Enders Research的道格拉斯•麥凱布(Douglas McCabe)說，“儘管各國受到衝擊的時間確實存在先後差別。”他表示，儘管已經感受到互聯網的影響，但德國紙媒的閉關自守卻超過了其他國家的同行：“德國紙媒市場較為分散，其網絡化程度不及英國等國家。移動設備普及率較低，報業歷來較為依賴報紙訂閱。”德國報紙出版商協會表示，2012年報紙總銷量為2110萬份，較2005年下降17%左右。在一些英國優質報紙發行量下降40%乃至50%的同時，8月份《法蘭克福匯報》(Frankfurter Allgemeine)的日發行量仍有35.5萬份，僅下降5%。但這並不能阻止報紙廣告收入的下滑。這種下滑在世紀之初廣告客戶開始轉向網絡端時便已初見端倪，並隨著2008年的全球危機和歐元區危機而加劇。德國廣告業協會表示，日報行業2011年的廣告收入為36億歐元，較12年前下降45%。這導致了《德國金融時報》——自2008年英國《金融時報》所有者培生集團(Pearson)出售了一半股權以來，該報為G+J全資所有——和《法蘭克福評論報》的覆滅。 《法蘭克福評論報》已於11月中旬申請破產。歐洲最大經濟體終於體會到了鄰國已經遭遇的經歷。法國民粹派報紙《法國晚報》(France-Soir)於去年12月停止發行印刷版，並在宣布破產之後於今年夏天關閉網絡版。今年1月，財經日報《論壇報》(La Tribune)也放棄了印刷版，改為純網絡版。自從4年前經濟危機爆發以來，西班牙已有多家紙媒刊物停刊。如今高端領域也開始面臨壓力，西班牙最受歡迎的報紙之一——《國家報》(El País)就打算把460名員工裁掉三分之一左右。報業低迷在意大利引發種種合併猜測，其中最引人注目的是RCS Mediagroup旗下的《晚郵報》(Corriere della Sera)和《米蘭體育報》(Gazzetta dello Sport)可能與阿涅利(Agnelli)家族的《新聞報》(La Stampa)合併的事情。但這幾家報刊均否認正在進行合併談判。伯恩斯坦研究公司(Bernstein Research)駐倫敦分析師克勞迪奧•阿斯佩西(Claudio Aspesi)認為，報業必鬚面對更多報紙將關門停業的慘淡現實。他說，“或許只有少數紙媒能夠開拓出可持續的商業模式——可能是那些大型的國際品牌”，如英國《金融時報》和美國《紐約時報》(New York Times)。“其他紙媒必須找到寡頭老闆，或是尋求大企業的庇護。”這就如同存在於法國、意大利和英國的一種模式：富豪收購媒體，實現影響力與利潤雙收。財經日報《迴聲報》(Les Échos)的所有者是伯納德•阿爾諾(Bernard Arnault)控股的奢侈品集團路威酩軒(LVMH)；法國最有名的《世界報》(Le Monde)被左傾商人出手拯救；發行量最大（30.7萬份）的日報《費加羅報》(Le Figaro)為國防集團達索(Dassault)擁有。《法蘭克福評論報》仍希望有投資者挺身而出，將其從破產邊緣解救回來。 《德國金融時報》的尋覓已經失敗。阿斯佩西說，德國人似乎不會為了“非經濟原因”而擁有一家報紙。他說：“似乎連德國的億萬富翁都比其他地方的億萬富翁更節儉。”譯者/徐天辰
Art Is Therapy review – de Botton as doorstepping self-help evangelist
Rijksmuseum, Amsterdam Alain de Botton has filled the Rijksmuseum with giant yellow Post-it notes that spell out his smarmy and banal ideas of self-improvement – but leaves us no room to look at the art
No eye, and no ear for language … the writer Alain de Botton at the Rijksmuseum, Amsterdam. Photograph: Vincent Mentzel
A flashing neon sign hangs over the grand entrance to the Rijksmuseum in Amsterdam. Art Is Therapy, it reads, mirroring the cover of Alain de Botton's recent book Art as Therapy, written with the philosopher and art historian John Armstrong.
The Rijksmuseum reopened last year after major reorganisation and restoration, to almost universal acclaim. It had more than 3 million visitors in 2013. They thought they had a museum; what they have is a crammed-to-the-gills tourist attraction. It's the Tate Modern effect. Perhaps troubled that 3 million visitors was not quite enough, Rijksmuseum director Wim Pijbes invited De Botton and Armstrong to make an "intervention". The authors have filled the place with loud, intrusive labels – giant Post-it notes that often dwarf the exhibits – along with a number of thematic displays. No escape … one of the philosophers' labels at the Rijksmuseum. Photograph: Olivier Middendorp You can't avoid the crowds, and there is no escape from the labels: in the entrance hall, on the stairs, in the grand salons that connect the galleries, as well as beside and beneath the exhibits. People are spending longer reading the damn things than looking at the art. "You suffer from fragility, guilt, a split personality, self disgust," reads a note next to Jan Steen's 1660s genre painting The Feast of Saint Nicholas. "You are probably a bit like this picture," the label goes on. "There are sides of you that are a little debauched." The labels tell us what's wrong with us, and how the artworks and artefacts they accompany can cure our ills. In front of Rembrandt's Night Watch, the crowning glory of the collection, another big yellow label tells us what it believes we are thinking: "I can't bear busy places – I wish this room were emptier." De Botton sees the Night Watch as an image of communality, which I suppose it is. There's not much fellow-feeling in the audience around it, and I guess that's the point, too. One of the exhibition's yellow labels … Photograph: Olivier Middendorp Next to Vermeer's Woman Reading a Letter and his quiet Delft street scene, beside teapots and Chinese gods, alongside an Yves Saint Laurent dress and a Rietveld chair, the labels proliferate. De Botton is trying to mend what he sees as a disconnection between art and life, between past and present. This is an unexceptional ambition. Artists and designers do it all the time. Why do we need De Botton? In a display of 19thcentury daguerrotypes, under the curatorial theme of memory, we are told we are in "one of the saddest rooms in the museum. You might want to cry." Why? All the people in the pictures are dead. They generally are in photographs this old. Banality and bathos are the stock-in-trade here. De Botton's curatorial rubrics – as well as memory, there's fortune, money, politics and sex – are anodyne, his insights and descriptions shallow and obvious. De Botton insists that art can tell us how to live: "It should heal us: it isn't an intellectual exercise, an abstract aesthetic arena or a distraction for a Sunday afternoon." His petulant tone is wearing. I also dislike the self-improvement shtick. In front of an athletic bit of statuary, a label inquires why, if we can accept going to the gym to improve our bodies, we don't visit the museum "to work on our character". Banality and bathos are the stock-in-trade … Photograph: Olivier Middendorp De Botton is like one of those "Jesus is your best mate" Christians, giving us not one but 150 thoughts for the day, on the ubiquitous labels, audioguide and downloadable app. He wants museums to become temples of virtue, places of instruction that go far beyond their usual remit of caring for and displaying centuries of culture. He'd probably also like to replace burgeoning museum education departments with outposts of his School of Life, a sort of drop-in self-help centre which, just this week, opened a branch in Amsterdam. De Botton thinks we've got art all wrong. He doesn't like the way museums are organised and finds the usual little wall labels, with their dates and movements and snippets of art history, unhelpful. Ideally, he envisages museums reorganised according to therapeutic functions – with a basement of suffering, leading upwards to a gallery of self-knowledge on the top floor. It's like Dante's circles of hell. De Botton's evangelising and his huckster's sincerity make him the least congenial gallery guide imaginable. He has no eye, and no ear for language. With their smarmy sermons and symptomology of human failings, their aphorisms about art leading us to better parts of ourselves, De Botton's texts feel like being doorstepped. But art contains concentrated doses of the virtues! You could coerce any art at all into his cause of mental hygiene and spiritual wellbeing. De Botton reduces art to its discernible content. He doesn't make us want to look at all. Until 7 September. Details: +31 20 674 7000. Venue: Rijksmuseum.
With a cast of more than 400 characters, this episodic novel written in the vernacular rather than classical Chinese tells of two branches of an aristocratic family with a tragic love story at its humane heart. Chairman Mao admired its critique of feudal corruption.
A Fine Balance Rohinton Mistry (1995) Set during the Emergency of 1970 (a period marked by political unrest, torture and detentions), Mistry is critical of then-prime minister Indira Gandhi, although she is never named. Four characters from very different backgrounds are brought together by rapid social changes. Rashomon Ryunosuke Akutagawa (1915) The author of more than 150 modernist short stories, but no full-length novels, Ryunosuke published Rashomon in a university magazine when he was just 17. Just 13 pages long, it comprises seven statements regarding the murder of a Samurai and his wife’s disappearance. The Thousand Nights and One Night Anonymous (First published in English 1706) Wiley Scheherazade diverts the sultan from her execution with the poetic and riddlesome adventures of Aladdin, Ali Baba, Sinbad and mystical creatures. Packing in crime, horror, fantasy and romance, it influenced authors as diverse as Tolstoy, Dumas, Rushdie, Conan Doyle, Proust and Lovecraft. Heat and Dust Ruth Prawer Jhabvala (1975) In this compellingmnovel by the only person to have won both the Booker Prize and an Oscar, a woman travels to India to learn the truth about her step-grandmother and her life under the British Raj of the 1920s. All About H Hatterr G V Desani (1948) It’s the glorious mash-up of English and Indian colloquialism that makes this book, about the son of a European merchant and a Malayan lady, such a wild, whimsical delight. Anthony Burgess admired its “creative chaos that grumbles at the restraining banks”. The Wind-Up Bird Chronicle Haruki Murakami (1994) This labyrinthine and hallucinogenic novel gets going when Toru Okada’s cat disappears in suburban Tokyo. He consults a pair of psychic sisters who appear to him in dreams and reality. But although Murakami’s plot meanders, it never loses its pace or its humanity. Spring Snow Yukio Mishima (1969-71) Before committing ritual suicide in November 1970, Mishima posted this tetralogy of novels (named after a dry lunar plain once believed awash with water) to his publisher. It’s a saga of 20th-century Japan, in which a law student imagines a school friend constantly reincarnated. Midnight's Children Salman Rushdie (1980) Magic realism meets postcolonial India in the ambitious, colourful and clever novel which was awarded the “Booker of Bookers” Prize. Hero Saleem Sinai is born at the stroke of midnight on August 15, 1947: the second of India’s independence and is endowed with an extraordinary talent. The God of Small Things Arundhati Roy (1997) This intense and exquisitely written tale of fraternal twins unfolds against a backdrop of communism, the caste system, and Christianity in Kerala from the Sixties to the Nineties. “Change is one thing,” writes Roy in her Booker Prize-winning debut, “Acceptance is another”. THE OTHER CONTENDERS The Home and the World Rabindranath Tagore (1916) Diary of a Madman Lu Xun (1918) An Insular Possession Timothy Mo (1986) The Holder of the World Bharati Mukherjee (1993) A Suitable Boy Vikram Seth (1993) GALLERY: Writers who are football fans
The 15 best European and Russian novels of all time
Whether you love Quixote or adore Kundera's depiction of Prague, there's a European or Russian classic for everyone here
Best European and Russian novels of all time (clockwise from top left): Jean-Jacques Rousseau's The Confessions; Simone De Beauvoir with Jean-Paul Sartre in 1977; Keira Knightley as Anna Karenina; Primo LeviPhoto: AP; AFP
It starts with an arrest for no apparent reason, before ensaring the reader in a world of implicit guilt and looming punishment. Often read as a fable about the sinister state, it’s just as terrifying for what it makes us think about ourselves.
If This Is a Man Primo Levi (1947) When Levi’s shaming testimony of the death camps first appeared, it was so shocking that it was ignored. But its assertion of humanity in the face of the worst humans can do has made it all the more urgent. Life: A User’s Manual Georges Perec (1978) It seems as though Perec fits the whole of life and history into this beady-eyed tour of a condemned (imaginary) Paris apartment block. Objects spotted on shelves are the starting points for beguiling, quirky stories that can take the reader everywhere. Don Quixote Miguel de Cervantes (1605, 1615) For all the scorn the novel hurls at its “hero” in the paste board helmet attacking strangers to defend the honour of a lightly moustached girl who thinks he’s a twit, it’s impossible not to love Quixote and his dreams of a nobler world. The Confessions Jean-Jacques Rousseau (1782) Rousseau’s project was to analyse himself, with all his faults, foibles and failures, from the ones that most haunt him (weeing in saucepans) to the ones he can get over (putting five children in orphanages). This assertion of the individual did a lot to change Europe. Remembrance of Things Past Marcel Proust (1913-1927) In spite of those massive sentences, the slippery theme of memory and the eight digressive novels, Proust’s probing, almost autobiographical masterpiece is full of gossip, snobbery, flirting, sex, jokes and the most illuminating similes this side of Homer. The Unbearable Lightness of Being Milan Kundera (1984) The sophisticated, teasingly essay-like style is Kundera’s best defence against the totalitarian crassness that engulfs his Prague and his characters, who juggle the serious with the seductively superficial –from Beethoven, through burying a dog, to the pros and cons of window cleaning. Anna Karenina Leo Tolstoy (1877) Here is Russian high society observed with ruthless realism and a mastery of each character’s inner life. Does Tolstoy make a sustained appearance in the character of Levin, the well-meaning suitor and father-do-be? The novel is all the better for it. Zorba the Greek Nikos Kazantzakis (1946) An intellectual wants to experience the pulse of real Greek life: in the character of Zorba, the “man made of rubber” he finds it, along with a uniquely Greek mix of hospitality, piety and violence. The Decameron Giovanni Boccaccio (after 1350) This network of a hundred stories, exchanged by aristocrats escaping the plague in Florence, is by turns ennobling and naughty, but always a celebration of the way a story can console its hearers, or at least divert them. If On a Winter’s Night a Traveller Italo Calvino (1979) The plot is – you buy a copy of If on a Winter’s Night…So does someone who’s just your type. But you’re both missing bits. You become the detective in this splendidly funny tale, told through parodies of all those clever, trick some European writers. Crime and Punishment Fyodor Dostoevsky(1866) We know who did it; the detective knows. But will we know why a student murdered his landlady? This is thrilling psychology, in which Dostoevsky’s empathy with angry idealists, downtrodden women and tormented sensualists takes him deep into the urban Russian soul. The Princess of Clèves Madame de Lafayette (1678) This tale of a noblewoman who must live for love, whatever the cost, has been called the first psychological novel. Later novelists, such as George Sand, still found plenty of material here they could use to create scandals in later ages A Hero of Our Time Mikhail Lermontov (1839) In a wry, detached tone, Lermontov explores that very wry detachedness that leads to duels and a consistent indifference to love and fate. The problem is, can the reader remain indifferent to the dashing Pechorin as he wrecks lives around the Caucasus? Confessions of Felix Krull Thomas Mann (1954) Mann’s last, funniest book takes on some of his biggest questions –are artists liars? Will decadence destroy Europe? This is the most heavenly, scandalous and saucy way of finding out the answers. THE CONTENDERS Fathers and Sons Ivan Turgenev (1862) Hunger Knut Hamsun (1890) Zeno’s Conscience Italo Svevo (1923) Embers Sándor Márai (1942) The Coming of Age Simone De Beauvoir (1970) Death in Venice Thomas Mann (1912) The Leopard Giuseppe di Lampedusa (1958) Life and Fate Vasily Grossman (1959) Perfume Patrick Süskind (1985) Blindness José Saramago (1995) IN PICTURES: ARE THESE THE MOST SPECTACULAR LIBRARIES IN THE WORLD?
The service allows individuals to catalogue their books and rate, review and discuss them with other readers. The service is available via the aNobii website and iPhone and Android Apps. The Apps allow individuals to barcode scan books and read both community and expert reviews. aNobii has readers in over 20 countries, but it is most well known in Italy. On March 2, 2011 it was announced that in 2010 aNobii has been acquired by a UK startup led by HMV Group and supported by HarperCollins, Penguin and The Random House Group and that the company is working on a new version of the website with possibility to buy books and most of all ebooks.[1]
BKikkoman Corporation has established the Kikkoman Institute for International Food Culture (KIIFC) as part of the commemorative events celebrating the 80th anniversary of the founding of our company. The purpose of the Institute is to conduct research, promote cultural and social activities, and collect and disseminate information regarding soy sauce, a fermented seasoning.
紀念公司 80周年慶的「國際食文化研究展覽中心」Kikkoman Institute for International Food Culture ( 「キッコーマン国際食文化研究センター」は創立80周年記念事業の一環として設立いたしました。
食の国際交流と豊かな食生活をめざして )
我們特別關心他們對於醬油風味輪之研究第一圖參考中文： Flavor Profile and Flavor Wheel ：
B Kikkoman Corporation has established the Kikkoman Institute for International Food Culture (KIIFC) as part of the commemorative events celebrating the 80th anniversary of the founding of our company. The purpose of the Institute is to conduct research, promote cultural and social activities, and collect and disseminate information regarding soy sauce, a fermented seasoning.
紀念公司80周年慶的「國際食文化研究展覽中心」Kikkoman Institute for International Food Culture (「キッコーマン国際食文化研究センター」は創立80周年記念事業の一環として設立いたしました。
食の国際交流と豊かな食生活をめざして)
我們特別關心他們對於醬油風味輪之研究第一圖 參考中文： Flavor Profile and Flavor Wheel ：
陳寅恪先生的寫法有些可以改進處 譬如說要引亞理斯多德的悲劇論的話 必須將它簡單地說出其精華而非只引說 "釀成"是與亞氏說法契合等等 Tragedy is the “imitation of an action” (mimesis) according to “the law of probability or necessity.”
說 到這裡，我不能不順便解釋一下：我怎麼會變成了“無國籍之人”？1955年春天哈佛燕京學社接受了新亞書院的推薦，讓我到哈佛大學訪問一年。但從3月到9 月，台灣國民黨政府一直拒絕發給我“中華民國護照”。據說這是因為我在香港刊物上寫過不少提倡民主、自由的文字，屬於所謂“第三勢力”。錢賓四師雖曾出面 說明我其實只是新亞書院一名“助教”，但仍未發生效力。最後由於友人介紹，得到亞洲協會（Asian Foundation）駐港代表艾維（James Ivy）先生的說項，美國領事館允許我到律師事務所取得一種臨時旅行文書（“affidavit in lieu ofpassport”），以“無國籍之人”的身份發給簽證。所以我一直遲至10月初才抵達哈佛大學，已在開學兩個星期之後了。
我翻譯過AldousHuxley的《時間必須有個終結》（Time Must Have a Stop），典出《亨利四世上》 (待出版)…..，他是位百科全書型才子。他至少寫過30本書， 國人多半只知道他的小說《美麗新世界》（Brave New World），對他的了解很片面。現在市面上還有他的小說《旋律的配合》 (Point Counter Point) (上海：譯文，2002)。
“Generalized intelligence and mental alertness are the most powerful enemies of dictatorship and at the same time the basic conditions of effective democracy.”
杜小真、顧嘉琛/譯，《置身於苦難與陽光之間：加繆散文集》，上海市：生活‧讀書‧新知三聯書店，1989年。 la pensée de Midi, 翻譯為正午思想
袁莉、周小珊/譯，《第一個人》，南京市：譯林出版社，1999年。
柳鳴九、沈志明/主編，《加繆全集》(全四卷)，石家莊：河北教育，2002年。
杜小真/譯，《西西弗的神話》，北京：西苑，2003年。
郭宏安、顧方濟、徐志仁/譯，《局外人‧鼠疫》，譯林出版社，2007年。
劉瓊歌/譯，《西西弗的神話》，光明日報出版社，2009年。
楊榮甲、王殿忠等人/譯，《加繆全集》，上海譯文出版社，2010年。
呂永真/譯，《反抗者》，上海譯文出版社，2010年。 la pensée de Midi,翻譯為南方思想
沈志明/譯，《西西弗神話》，上海譯文出版社，2010年。
柳鳴九/譯，《局外人》，浙江文藝出版社，2010年。
不著譯者，《局外人》，上海譯文出版社，2010年。
劉方/譯，《鼠疫》，上海譯文出版社，2011年。
郭宏安/譯，《西緒福斯神話》，新星出版社，2012年。
Jean-François Mattéi (dir.), Jean-Pierre Ivaldi, Frédéric Musso, Louis Martinez et al., Albert Camus & la pensée de Midi, Nice, Ovadia, coll. « Chemins de pensée », 2008 (ISBN9782915741308)
midi
Pronunciation: /midi/
m
1 twelve o'clock, midday, noonje fais mes courses entre midi et deux I go shopping in my lunch hour
琳恩‧特魯斯（Lynne Truss）她原本是一位文學編輯，後來「不務正業」當了廣播電台主持人和作家。現為英國BBC廣播電台英語文法節目最具權威的主持人。同時也出版過三本 小說和許多廣播劇劇本。二○○二年秋，開始為BBC四號電台（Radio 4）製作一個關於標點符號的系列節目，叫「破解破折號」（Cutting a dash）。
譯者簡介
謝瑤玲，現任教於東吳大學英文系及政治大學英語系。
In a 2004 review, Louis Menand of The New Yorker pointed out several dozen punctuation errors in the book, including one in the dedication, and wrote that "an Englishwoman lecturing Americans on semicolons is a little like an American lecturing the French on sauces. Some of Truss's departures from punctuation norms are just British laxness."[2]
2003-2004 歐美暢銷書：
Eats, Shoots & Leaves: The Zero Tolerance Approach to Punctuation
Eats, Shoots & Leaves: The Zero Tolerance Approach to Punctuation is a non-fiction book written by Lynne Truss, the former host of BBC Radio 4's Cutting a Dash programme. In the book, published in 2003, Truss bemoans the state of punctuation in the United Kingdom and the United States and describes how rules are being relaxed in today's society. Her goal is to remind readers of the importance of punctuation in the English language by mixing humour and instruction. Truss dedicates the book "to the memory of the striking Bolshevik printers of St. Petersburg who, in 1905, demanded to be paid the same rate for punctuation marks as for letters, and thereby directly precipitated the first Russian Revolution"; she added this dedication as an afterthought after finding the factoid in a speech from a librarian.[1]
*****2009
我讀過舊版 TheWell Tempered Sentence: A Punctuation Handbook for the Innocent, the Eager, and the Doomed
Product Description For over a decade THE WELL TEMPERED SENTENCE has provided instruction and pleasure to the wariest student and the most punctilious scholar alike. Now Karen Elizabeth Gordon has revised and enlarged her classic handbook with fuller explanations of the rules of punctuation, additional whimsical graphics, and further character development and drama -- all the while redeeming punctuation from the perils of boredom. For anyone who has despaired of opening a punctuation handbook (but whose sentences despair without one), THE NEW WELL TEMPERED SENTENCE will teach you clearly and simply where to place a comma and how to use an apostrophe. And as you master the elusive slashes, dots, and dashes that give expression to our most perplexing thoughts, you will find yourself in the grip of a bizarre and beguiling comedy of manners. Long-time fans will delight in the further intrigues of cover girl Loona, the duke and duchess, and the mysterious Rosie and Nimrod. The New Well-Tempered Sentence is sure to entertain while teaching you everything you want to know about punctuation. Never before has punctuation been so much fun!
About the Author
Karen Elizabeth Gordon is the author of the classic and comic reference books The Deluxe Transitive Vampire, The New Well-Tempered Sentence, and Torn Wings and Faux Pas. Her wanderlusting fiction includes The Ravenous Muse, The Red Shoes and Other Tattered Tales, and Paris Out of Hand. She lives in Berkeley, California and Paris.
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