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王芝琛(1937~2006(:《一代報人王芸生(1901-1980)》,2004

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《大公報》《時報 》《晨報 》,胡適之先生、《大公報》《后生可畏》1931;"....一個報館的言論可以趕掉一個外交部長 偉大哉大公報 ! 中國真是一個民治的國家!"1941;謝泳《胡政之和胡適之》;王芝琛:《一代報人王芸生》;胡適、蔣介石與王芸生
https://www.facebook.com/hanching.chung/videos/4363278197016287




王芝琛(1937~2006(:《一代報人王芸生(1901-1980)》,長江文藝,2004
王芝琛:《一代報人王芸生

王芸生(1901年9月-1980年5月30日),原名德鵬,男,天津靜海人,中華民國時期報人、政論家。


  • 1925年在洋行工作的王在五卅運動時激起了民族熱情,成為反帝活動的積極分子。1926年,因避難前往上海,並參加上海的革命活動,國共合作時期先加入國民黨,後經博古等人介紹入中國共產黨[1]

    四·一二事件後在天津《大公報》刊登啟示,聲明脫離一切黨派,謝絕政治活動,專心從事著述。

    成為大公報人[編輯]

    1928年5月任天津商報》總編輯。因多次撰文評說《大公報》社評觀點,受張季鸞賞識,與1929年被張攬入《大公報》,任地方新聞編輯,次年編輯《國聞周報》。九一八事變後,配合《大公報》「明恥教戰」編輯方針,受命編輯《六十年來中國與日本》,此後往來於京津之間,搜尋材料,精心編輯,所寫文章,自1932年1月11日起,在《大公報》連載,持續兩年之久。1934年,《大公報》報館將其輯為一部七卷本巨著出版。此著也成為他的成名作品。同年8月,王芸生應邀到江西廬山採訪,並給蔣中正講課。

    1935年升為編輯主任。1936年9月出任上海版編輯主任。張季鸞離滬籌辦漢口版後,他主持滬版編務。1937年12月14日,滬版抵制日本占領軍新聞檢查,宣布停刊,王芸生撰寫《不投降論》和《暫別上海讀者》兩篇社評,表示大公報人「一不投降,二不受辱」。

    1938年1月任漢口版編輯主任。

    1938年12月重慶版創刊後,因總編張季鸞體弱多病,常離館修養,編務實際由其主持。在漢口、重慶期間多次謝絕國民政府予以的高官厚薪。

    1941年張季鸞去世,王芸生繼任《大公報》總編,同時擔任社評委員會主任,事業達到最巔峰。其後所寫《維護修明政治案》、《看重慶,念中原!》、《晁錯與馬謖》等文,引起當局不滿。

    抗戰勝利後,呼籲和平,反對內戰。針對國民黨鎮壓學生運動和實行文化專制,撰寫《我看學潮》、《由新民報停刊談出版法》等社評予以抨擊,致使此後國民黨黨報《中央日報》發起「三查王芸生運動」。同時,也主持撰寫《質中共》、《可恥的長春之戰》等文,受到《新華日報》猛烈攻擊。

    1947年王以總編輯身份參加中國赴日記者團,對降後日本考察,回國後寫成《日本半月》等12篇文章。

    國共內戰後期至中華人民共和國成立後[編輯]

    1948年10月王芸生得到由《大公報》社中共地下黨員轉給他的毛澤東口頭邀請,通知他儘早離開上海,前往香港,再轉道海路前往北京參加中國人民政治協商會議。經過再三考慮,王芸生與11月5日,從上海轉道台灣到達香港,親自主持香港版筆政。1949年1月與文化界知名人士郭沫若馬寅初黃炎培等抵達北平,5月27日隨軍南下至上海,為保全《大公報》繼續發行,於6月17日在滬版發表《大公報新生宣言》,檢討近五十年《大公報》辦報歷程,宣布「報紙歸人民所有」。中華人民共和國成立後,繼續擔任《大公報》社長,直至1966年9月北京版停刊。此外還擔任過中華全國新聞工作者協會副主席,第二、三、四屆全國政協常務委員,第一、二、三、四屆全國人大代表

    1956年11月,王芸生隨彭真章伯鈞訪問蘇聯東歐國家,在與蘇聯領導人赫魯雪夫會面時,章伯鈞突然站起來講話,王芸生也隨即發表講話[2]

    反右運動後受到批判,由於毛澤東本人授意,未被劃為「右派[3]。此後很少過問《大公報》社務,致力於文史著述,寫成《英斂之時期的舊大公報》等(晚年表示其中許多為迫於時局違心所寫成)。

    文革中遭到批鬥,家庭受到重大影響。

    家庭[編輯]

    妻子:馮玉文

    子女:

    • 王芝光,後改名王磊(結構力學教授,1987年10月2日因病去世)
    • 王芝芙,女,(人民廣播電台高級編輯)
    • 王芝慕,女,(畢業於華東軍政大學,保育員)
    • 王芝秋(畢業於哈爾濱軍事工程學院)
    • 王芝琛(1937年生,1961年畢業於哈爾濱軍事工程學院,大公報報史研究專家,2006年2月5日因癌症去世)
    • 王芝瑜,女,(戲劇電影導演,1966年畢業於中央戲劇學院導演系)

    作品[編輯]


周作人《知堂回想錄》牛津大學出版社印刷版2019 手稿本 2020

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讀周作人《知堂回想錄》的北大人,想應該看看書前部分。
時光真無情,即使許多知名革命人士的故事,後人幾乎都忘了,如著名的成功刺客被剖心餵人......
他們兄弟的"情",魯迅後來的文章中的"指事",都只是"詩"化 (如老弟挨揍),"真實"的故事是...... (他們當然都知道歌德的回想錄《詩與真》。
知堂外語比老哥魯迅好,所以翻譯賺錢,常是老弟口述,老哥筆錄.......
周作人在日本6年 (最妙的是,公費留學名義是學建築,似乎沒上過相關學校/課) 。期間學過俄文、梵文、古希臘文 (他20年後翻譯,50~60年代更專心翻譯古希臘古典)。作人想續留日本學法文,魯迅(痛心)要他回國做事補貼家用。

記他們在日本上章太炎的《說文》(約1908),章講到"尼"字"從後近之",有聲有色,包括"仲尼"......


領頭字



解形
《說文》:“尼,從後近之。从尸,匕聲。





近來時有研究周作人的文章刊出,範圍多以一九四五年周氏入獄為下限,其實此後周氏還有一個晚期,時間在一九四九——一九六七年。這段時間不短,著作也不少。生前出版者有《魯迅的故家》、《魯迅小說中的人物》和《魯迅的青年時代》,身後則有《知堂回想錄》、《周曹通信集》和《周作人晚年手札一百封》問世。近來岳麓書社印行陳子善編《知堂集外文·<亦報>隨筆》、《知堂集外文·四九年以後》二冊,收周氏此期零散文章近千篇,約百萬字。周氏這一時期著作在思想上和藝術上很少受時世影響,還是地道的“周作人特色”,所以不應為文學史家和文學評論家所忽視。在思想上與此前一脈相承,仍以“常識”為其核心,多道及他人所不道者;在藝術上則更進一步,可謂臻於極境了。可惜向來選本從不收入一二。陳君編這兩本書,也許竟可為研究周氏乃至現當代文學開一新領域。或者說這些文字因為種種原因,於周氏生前無甚社會影響,誠然,但不得因此便忽略了它。說到陳君編的兩本書,亦不無缺憾:第一,周氏本來編有一本“木片集”,是這一時期所作散文的自選集,雖未出版,究竟編得了,如今拆碎而統稱為“集外文”,於著者未免欠尊重;第二,《<亦報>隨筆》與“四九年以後”的區分沒有多少道理可講;第三,兩書之外,還有遺漏,如周氏為所譯《枕草子》寫的《關於清少納言》一文(載外國文學出版社《日本古代隨筆選》中),又,張菊香編《周作人年譜》所收之周氏所作遺囑,這裡也不見收入。

補白




止庵


知堂回想錄--《周作人文選 I/II》收入: 三味書屋、我的筆名、最初的印象、紹興縣館(一)、(二);道路的記憶館(一)、(二);先母事略 等篇。


知堂回想錄

內容簡介

作者周作人
ISBN9780190988661
定價HKD168 

目錄
新書試讀
《知堂回想錄》是一本傷逝之作,一九六二年書寫到第四卷「北大感舊錄」,知堂老人說,「今天聽說胡適之於二月二十四日在臺灣去世了,這樣便成為我的感舊錄裏的材料,因為這感舊錄中是照例不收生存的人的。」《回想錄》七○年五月香港三育初版,至今已歷半個世紀,箇中出版的艱辛曲折,請參見本書附錄曹景行文。近十幾年來,曾有多家出版社相繼重印《回想錄》,然因為種種條件的限制,一直未能達到知堂後人所說的「接近著者的本意」。

牛津版以著者手稿為藍本,綜合校勘各個版本,訂正了自半個世紀前出版以來因襲的上千餘處排校錯誤。我們希望這個版本足以告慰逝去的著者和他的友人──曹聚仁、羅孚等先生。

周作人是現代中國散文大家,胡適晚年一再說:「到現在值得一看的,只有周作人的東西了。」

本書收有重要知堂老人相片、手札、墨蹟。

編者簡介

周作人(一八八五─一九六七),浙江紹興人。中國現代著名散文家、翻譯家,新文化運動代表人物之一。原名櫆壽(後改為奎綬),字星杓,又名啟明、啟孟、起孟,筆名遐壽、仲密、豈明,號知堂、藥堂等。魯迅(周樹人)之弟,周建人之兄。歷任國立北京大學教授、東方文學系主任,燕京大學新文學系主任、客座教授。新文化運動中是《新青年》的重要同人作者,並曾任新潮社主任編輯。五四運動之後,參與發起成立「文學研究會」;並與魯迅等創辦《語絲》周刊,任主編和主要撰稿人。
***

星期日文學‧《知堂回想錄》手稿本:衣沾不足惜,但使願無違 一個甲子的出版故事
2021/4/11

【明報專訊】知堂老人——周作人(一八八五至一九六七)在晚年時,應身處香港的曹聚仁之邀,寫成三十八萬字的回憶錄——《知堂回想錄》。貴為散文大家,周作人的回憶錄應為文壇瑰寶,但卻礙於周作人的歷史問題,導致《回想錄》的出版、刊載,一波幾折。即使等到周作人逝世之後、一九七○年在香港首次出版,同樣惹來不少問題,是否貼近周作人當初動筆之本意也成疑問。

二○一九年,香港的牛津大學出版社出版了《回想錄》的排印版本,根據周作人三十八萬字的手稿重新修訂,屬周作人研究以至是現代中國文學史上的一大進程。今年牛津再隆重出版《知堂回想錄》的手稿本,完整刊印全書手稿。周作人在戰後因「漢奸」罪名入獄,但自出獄後都留在北京,雖然如此,《知堂回想錄》從當初的約稿、後來的出版,到現在牛津版的排印本和手稿本,這書都跟香港密不可分。本版有幸邀得牛津大學出版社學術及普及出版部總編輯林道群先生,詳談《知堂回想錄》的出版故事。

林:林道群 然:亞然

然:一般讀者對於周作人這個名字,知道的可能只有幾件事。第一個認識,大概知道周作人就是魯迅周樹人的弟弟,而周作人和魯迅的關係後來破裂了;第二個認識是周作人「漢奸」的罪名,因為周作人曾經在抗戰期間參加華北偽政府,抗戰結束後給國民政府以「漢奸」罪名拘捕判刑;第三個認識,周作人是現代散文大家,像胡適就說過「到現在值得一看的,只有周作人的東西了」,又或是讀董橋的文章,董生也常常提到周作人,對周作人的文章推崇備至。這幾件事,對周作人的生命和寫作,帶來什麼影響、什麼限制?

林:時至今日,一般讀者還愛讀周作人散文,可見他的確非同一般。他散文寫得好,早見於一九二幾年的《自己的園地》、《雨天的書》等散文集,畢竟周氏兄弟成名於一百年前了,新文學時期魯迅周作人一出手已是數一數二的人物,當年郁達夫就說中國現代散文的成績,魯迅周作人最豐富最偉大。

到了一九四九年後,人在美國的胡適還一再跟陳之藩說,值得一看的只有周作人了。你說的沒錯,一九二三年兩兄弟失和、抗日時期一九三九年周作人加入汪政權成為落水文人,的確至今仍然未有公論。比其兄長,知堂老人長壽得多,壽則多辱,一九六七年終究沒能熬過「文革」。而今作者過身逾五十年,著作版權開放,這幾年他的書有各種各樣的版本,說周作人是現代散文大家,一點都不為過,他近三十本散文集至今讀來仍津津有味。差不多十年前上海人民出版社出版過《周作人譯文全集》十一卷,洋洋大觀,他翻譯希臘日本文學,成就非凡,不遜色於他的創作。牛津前年先整理出版《知堂回想錄》排校本,現在又印行手稿本,卻是因為特別的因緣。

連載出版一波三折

然:牛津大學出版社在二○一九年出版了七百多頁的排印本,到最近再出版了完整的手稿本。實際上,《知堂回想錄》在一九六二年寫完,而周作人亦在一九六七年文革的時候逝世。在周作人去世之後,《回想錄》要等到一九七○年的時候,才在香港由三育圖書公司出版。周作人寫回憶錄,最初是由香港的曹聚仁約稿所促成,亦曾經希望在羅孚所編、香港的《新晚報》上連載,以為周作人提供稿費。但無論是《回想錄》的連載、出版等,都好像一波三折,最大的原因是什麼?

林:《知堂回想錄》是周作人最後也可以說最重要的一部書,成書和出版的確是一個傳奇,尤其這是一個前前後後都發生在香港的故事,甚至時至今天,在我們今次的訪談中,依然有重要的新材料可以一說。

出版《回想錄》手稿本肯定有助周作人研究。事實上,書剛剛印好,我已接到研究周氏兄弟幾十年的中大榮休教授陳勝長老師短訊說,「藥堂談往」手稿的出版解決了困擾他多年的問題。手稿原題「藥堂談往」,全稿用毛筆一直寫到最後第五六三頁,仍然叫「藥堂談往」,署名「豈明」,分四卷二百零七篇。牛津這次封面上特別保留了「藥堂談往」這個原題。

說起來《回想錄》的傳奇故事,最早披露出來應該是一九八七年香港出版的朱魯大《近代名人逸聞》一書,有關《回想錄》在《新晚報》連載一個月被腰斬、《南洋商報》連載十個月、《海光文藝》連載未成、《朝日新聞》日譯出版未果、三育初版一面世隨即全面回收、聽濤初版、三育再版等等,多年來經各方面的補充和發酵,最翔實的,可參見牛津版所附曹景行根據父輩曹聚仁留存材料整理的文章,這次手稿本所附周作人長孫周吉宜提供的材料也同樣彌足珍貴。

「藥堂談往」到「知堂回想錄」

然:從手稿本裏看到,周作人的書名是「藥堂談往」,為何最後卻不以此作書名?

林:書名「知堂回想錄」而不用「藥堂談往」,的確需要說明一下,牛津手稿本所附周吉宜文章,作了很詳細的解說。知堂老人在「藥堂談往」這個書名下寫了兩年,每寫幾頁,便給香港寄去。與至今未公開的周作人日記對照可知,著者在手稿右上角寫有書名「藥堂談往」的,便是每次郵寄稿件去香港時的首頁。

其間曹聚仁一再建議改書名為「回憶錄」,直到就要完成全稿時,老人才說:「此稿擬或易名『知堂回想錄』,抑或仍舊,請代一酌定之。」意思是說未來書名可以改為「知堂回想錄」,但保持原名「藥堂談往」仍是自己的意願,現存資料中未見曹聚仁關於書名的直接答覆,但此後雙方信件中,知堂老人的確不再用「藥堂談往」而改稱「回想錄」,而曹先生仍一直稱以「回憶錄」——周吉宜認為僅剩的這一字之差,對雙方似乎仍然很重要。牛津手稿版可以做的是,把「藥堂談往」作為小題,用作者同意的「知堂回想錄」作為正式書名。

然:當時無論是報紙上連載的計劃,抑或是在三育出版社出版,稿件的目的地都是香港。這些手稿,當年從北京是如何寄到香港?

林:這個問題有點意思。如前所說,知堂老人寫作時以為香港報紙急於連載,隨寫隨寄便於報社發稿,這樣也可及時得到稿費。每寄新稿都會在新稿右上角題寫一次「藥堂談往」,改用新稿紙(全書用了五種不同的稿紙),每頁字數有變也會簡單說明。我數了,總共寄了八十八次稿。我說的香港因緣見效,這些送稿都藉當年《大公報》駐北京的辦事處轉送,否則怕沒那麼幸運稿件能全部順利寄到香港。

周作人無緣見證付梓

然:周作人從完稿到逝世的一刻,文章是否都未曾以任何形式出版過?

林:人在香港的曹聚仁跟知堂老人約寫回憶錄,寫了很多信,一九六○年老人終於同意動筆,你看到這部毛筆手稿不能不驚訝,三十八萬字的蠅頭小楷啊,寫足兩年到一九六二年底,的確仍然一字也發表不出來。一九六四年《新晚報》終於開始連載,也只維持一個月即被腰斬中止,羅孚寫過一篇〈回想《知堂回想錄》〉記述與此相關的事。那時文革已愈來愈近,老人應該無緣見過鉛字印刷版報紙。到了一九七○年《回想錄》終於在香港出版,是時知堂老人已辭世三年,意料不及的是書一面世,又受到北京的壓力。

《知堂回想錄》上下兩冊一九七○年五月由香港三育圖書文具公司初版,因為書前「原件複製」了一封四頁紙的周作人致曹聚仁的信札,觸犯了政治禁忌,書一面世被迫全面回收,撕下該信後重新裝訂,後來分別有三育單卷本、聽濤出版社兩卷本流傳於世。後來《周曹通信集》重新編入被撕毁的信,前年牛津排校本也據此重新刊出該信。

今天我受周吉宜所託在此要糾正說明的是:曹聚仁當年的「原件複製」信札並非原件複製。事關早年的影相製版技術有限,其中第三頁第一行還不幸的被製版手民把「也想不出有這樣的人。」裁成「也想不出有這樣的,」,因為標點符號留着,只裁去逗號前面的一個字,研究者一直都未注意到。

手稿三遇貴人保管六十年

然:二○一九年出版的牛津排印本,和早期三育版有什麼分別?重要性在哪裏?

林:牛津版《回想錄》和三育版的區別,可參見書中附錄曹景行、周吉宜、校勘者五度諸位幾篇說明文章。長話短說,曹聚仁當年收到《回想錄》手稿後,從一開始就想保留手稿的完整乾淨,每一頁都花錢找人抄寫才送去排版。雖然曹先生親自承擔校對,但因年事已大,「年老衰殘,精神不濟,伏案校對,腹痛如割」。也就是說,主要是校勘者校訂了不少排校的錯別字。當然畢竟過了幾十年,周作人研究在這些年的確有不少新的發現,牛津版書前附錄的幾十張圖片、書末附錄周作人寫於一九四九年的一封長信、許寶騤的題詞等等,這些都是當年三育版不可能有的重要文獻資料。

然:《回想錄》由寫成到現在二○二一年,手稿本才能出版。整部書三十幾萬字,這麼大部頭能夠有完整的手稿,是否很罕見?當初能夠保留下來的原因是什麼?即然保留了,為何中間又要隔這麼長的時間才能面世?

林:《知堂回想錄》不止是一部文學作品,更是一部很有歷史價值的文獻。六十年來,三遇貴人的悉心呵護,無驚無險。相比於《回想錄》於一九七○年五月由香港三育圖書公司初版的艱辛曲折,而今得以回到香港得以原貌面世,算是功德圓滿。

當年《回想錄》既已面世,曹聚仁得以放下十年牽掛後,把手稿交託給《新晚報》老總羅孚保存,其後羅孚被羈留北京十年,劫後餘生,回到香港,保存手稿二十五年後,一九九三年決定把手稿捐贈給中國現代文學館。時光荏苒,而今又過了三十個寒暑,在周吉宜和中國現代文學館的協助下,《回想錄》全部手稿,現在都回到香港,完整無缺的原色刊印出來了。

曹、羅兩位老先生,悉心保存手稿,可以看作是老一輩人的互相信任和愛護,相信直至到羅先生捐出手稿,他們都沒有想過手稿有公開出版的今日。九十年代後,既然手稿已歸中國現代文學館館藏,周作人研究始終因為「落水」這個歷史問題,跟魯迅研究的待遇差天共地,若不是周作人後人的努力,以及香港這一塊特別行政區,也許還要再等更長的時間。

然:最後,想問一下牛津版的手稿本和排印本,兩本書的封面,都有一幅小畫,你為什麼偏愛這幅小畫?

林:這好像是一個小秘密,或者說是隱藏的一個語碼。這幅小畫三育版已經印在封面上,我一直覺得好奇,有回讀《周曹通信集》,忘了是一集還是二集,發現這畫原來是知堂老人自己畫在信箋上的,如獲至寶,遂沿用印在牛津排校版和手稿本封面上。周吉宜說牛津的版本最貼近著者的本意,除了正體字豎排,盡量保存了曹聚仁羅孚等先生的努力,也許也包括了這些微小的執著。

整理•亞然

圖•牛津大學出版社

美術•劉若基

編輯•關曉陽

電郵•literature@mingpao.com

fb﹕http://www.facebook.com/SundayMingpao







***

TingShan Tsai
── 。


香港掌故大家高伯雨提到周作人在香港賣文的故事,說一九六一年十月二十日,他聽聞某晚報副刊方先生說,他們要連載周作人的隨筆,高伯雨心想在北京的知堂老人怎會「賣文」賣到一家毫不相識且被認為反動的報紙呢?於是他向方君說:「請老兄看我薄面,給我兩星期時間,待我寫信問問他。在此期間內,千萬不可刊登,以免引起誤會,使老人惹來麻煩。」方先生很夠交情,答應了。

周作人的回信來了,這麼寫著——
伯雨先生:
得廿六日手書,敬悉一一。辱承關注,甚為感謝,鄙人一向不曾為港報寫文章,亦無學生代理,只有聽曹聚仁君勸說,寫《藥堂談往》,已有廿萬字,尚未完了。據說擬登《大公報》系統之《新晚報》,詳情須問曹君方知。此外別無投稿。至於學生代給稿件,別無其事。關於此事擬託曹君設法代為處理,蓋弟之文章現只有他一處代為經理也。港地事甚複雜,弟因不甚明瞭,決無亂投稿件之理,舊日學生甚多,近來亦久無往來,故所云云,其真實性殊亦難知也。專此致謝,即請近安。
周作人 十一月二日

收信後,高伯雨打電話問方君,他說為了不要使老人難過,現在決定放棄原定計畫,不登載了。至於哪些文章,高伯雨也沒有提到。而《藥堂談往》當時還沒寫完,後來到了一九七○年五月香港三育圖書文具公司初版,改名為《知堂回想錄》,這時老人逝世已三年餘了。2019年11月香港牛津大學出版社以知堂老人原稿校勘後重新出版。

圖像裡可能有文字









***

關於《知堂回想錄》的故事 - 許禮平





《知堂回想錄》手稿(作者提供圖片)




羅孚說過,「《知堂回想錄》是周作人一生中最後的一部著作」。但書由完稿到連載再到出版,中間頗多波折,後來終得在港出版,其間羅孚及曹聚仁都居功至偉。但羅孚卻謙讓以為功屬曹氏,說:「周作人晚年的一些著譯能在香港發表、出書,都是曹聚仁之功。」

羅孚還指出:《知堂回想錄》是曹聚仁建議的。是「有一次曹聚仁談起他這個想法」,羅孚認為「這是個好主意,可以在香港《新晚報》的副刊上連載。」於是曹聚仁寫信給周作人。羅更說:「在周作人看來,這是《新晚報》向他拉稿,儘管也可以這樣說,但說得準確些,拉稿的其實是曹聚仁,因為立意和寫信的都是他。」(見羅孚《回想〈知堂回想錄〉》)

《知堂回想錄》是由一九六〇年十二月開筆,直至一九六二年十一月脫稿,再到《新晚報》刊登時,已是一九六四年的八月了。羅孚後來說:「是我還有顧慮,怕他這些儘管是回憶錄的文章依然屬於陽春雪,不為晚報的一般讀者所接受;另一個原因是要看看他對敵偽時期的一段歷史是如何交代的。後來見他基本上是留下了一段空白,這才放了心。」

即使是如此惴惴然的小心謹慎,但《回想錄》在連載個多月之後,仍給腰斬了。羅孚的交代只是:「我是奉命行事」。

內情局外人難盡悉,只知曹聚仁曾去信安慰周作人:「聚仁因為和京中最高層有往來,還可以做得主,所以要把這件事弄完成來。……可奈這兩年身體太差了,不能回京看看,也不能出遠門。有些話,等我當面說給您吧!」(一九六五年十二月八日)

其實,曹聚仁是以虛言誑老者,此時的曹氏已是「不能回京」了。事緣曹氏所編的《現代中國劇曲影藝集成》,因不肯銷毀書中二三十年代藍蘋在滬、寧影劇界活動資料,因而犯諱。周恩來要保護曹,乃警誡他非得北京許可,不要回國。(見曹藝《現代東方一但丁──陪伴先兄南行記事》)。

形勢令知堂老人無奈,曹聚仁也為羅孚解釋「腰斬」之事,說:「對羅兄不要錯怪,因為他也只能執行京中的政策,不能自己作主的。」(一九六六年十一月廿五日)

其實,《知堂回想錄》被腰斬之後,羅孚仍未放棄,初擬轉在《海光文藝》上擇要刊載。但文革風暴波及香港,《海光文藝》也夭折了。未幾,更遺憾的是知堂老人也在折磨中死去。後來,是曹聚仁說項得在新加坡《南洋商報》副刊《商餘》上連載,那已是知堂老人逝去的第二個年頭了。

曹氏又安排《南洋商報》將稿酬直接匯至三育圖書文具公司,用以解決回想錄的排版及印刷費用,乃令該書能在一九七〇年五月出版。曹氏在回想錄的「校讀小記」坦言:「這部《知堂回想錄》,先後碰到了種種挫折,終於和世人相見了。此稿付印時,知堂老人尚在人世,而今老人逝世已三年餘,能夠印行問世,我也可慰故人於地下了。」

其實此時的曹聚仁正處於貧病交迫的淒涼晚境,曹氏以病弱之軀,親負校對之責,「伏案校對,腹痛如割」。書出版後兩年,曹氏也在澳門病逝了。

再說此書出版後,也有些波折。因書前編置有周作人的幾封信,其中一封犯了當時的忌諱。羅氏勸曹氏刪去,免招麻煩。所以書雖出版了,卻莫名其妙的要「收回」,要撕毀犯忌的信頁,重裝封面,出版社也換成曹氏「聽濤出版社」的名義。

曹氏在校讀小記說:「此刻看了全書,我相信大家一定會承認這麽好的回憶錄,如若埋沒了不與世人相見,我怎麽對得住千百年後的社會文化界?可惜,那位對老人作主觀批評的人,已不及見這本書了。我呢,只求心之所安,替老人出了版,知我罪我,我都不管了。」

曹氏雖非中共黨員,但自承是同路人。曹氏仍為此書的出版,向費彝民、羅孚報備。「彝民、承勳二兄:關於《知堂回想錄》的刊行,我個人負完全責任,如有錯誤,我個人願受任何處分,決無怨言。」「我並不居功,也不辭責。我先後校了三回,內容絕無反動之點,而且都是第一手史料,值得保留下來。」字裏行間,隱約顯示出曹氏是在為羅孚開脫。

三育版《回想錄》雖得曹氏三校,但老眼昏花,仍訛錯諸多。說到訛錯,還有以下一個重要因素。

在上世紀六十年代香港報紙多用活版印刷,排字工人執字排版,都是五指黑墨,故有「黑手黨」之稱。當稿件發到字房,為求速度,往往一紙剪成幾條,由各工人分紙執字,那供執字的原稿,在校對之後,即使不「五馬分屍」,也已模糊難看了。

由於羅孚愛惜知堂手澤,於是不惜工本,請人錄副,使能用抄本發排。此事曹聚仁在致周作人信中也有透露:「非有人抄副本不行,羅兄要保留原稿的。抄副本得花一筆錢的。」(一九六六年十一月廿五日)因此之故,知堂手稿便能保存下來。

但稿件抄錄也同時會增加訛錯(這是三育版錯字多的一個原因)。在回想錄初版之後,曹聚仁便將整套原稿轉交羅孚保存,說:「兄可留作紀念,三五十年後,也許將是一份有價值的文物呢。」

羅孚費心費力保存的這部《知堂回想錄》手稿,在北京軟禁十年之後,回港即檢出,托人帶到北京,捐獻給「中國現代文學館」。

在《知堂回想錄》成書半個世紀之後,牛津大學出版社又為該書出版,那是以知堂老人原稿重新排校,並附錄一些過去不常見的文獻資料,對研究知堂老人生平謗譽事功,至關重要。


許禮平








  • [1]北京十年[M]. 中央编译出版社 , 罗孚, 2011
  • [2]文苑缤纷[M]. 中央编译出版社 , 罗孚, 2010
  • [3]知堂回想录[M]. 河北教育出版社 , 周作人著, 2002
  • [4]周作人年谱[M]. 天津人民出版社 , 张菊香,张铁荣编著, 2000
  • Hans Küng 1928年3月19日-2021年4月6日

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     台灣另有中正書局出書,待查。

    普世倫理並不是要放棄宗教,而是探索不同宗教共存之道。孔漢思主張,各個宗教都應嘗試理解基要主義和嚴格道德主義的信徒,希望轉化他們成為共存的信仰。但倘若基要主義結合國家軍事力量行使暴力,則必須堅決抵制。他引述神學家巴特晚年的說法,很多基督徒以為基督是光,除此以外再沒有其他光,但其實「除了這一光外,還有其他的種種光(……)耶穌基督既沒封閉在《聖經》的封皮之中,也沒遭關閉在教堂的牆之內……」。換言之,基督教必須接受基督教之外,世界上許多人對其他宗教的神有同樣確定的信仰。如果不同宗教要共存,則必須拒絕把傳教視為征服,而要視為見證,不要通過殖民佔領,而要通過文化交流,不要通過對峙,而是通過對話。對於虛無主義者或沒有信仰的人,普世倫理主張倫理和宗教互補,重視待人的責任維繫社會的基本價值,但同時不應忽略宗教給予人們終極的精神家園,令心靈得到最深層的安全、信任和希望,甚至激勵人們堅定地反抗戰爭和不公義。孔漢思也許不知道,在東方的小島有一位哲學家遙遙呼應他的普世倫理。在1954年,新儒家哲人唐君毅在沙田道風山演講後,在〈我與宗教徒〉寫道:「在遙遠的地方,一切虔誠終當相遇。」



    維基百科,自由的百科全書

    跳至導覽跳至搜尋

    漢斯·昆
    Hans Küng
    Küng3.JPG
    漢斯·昆 (2009)
    聖秩
    晉鐸於1954晉鐸
    個人資料
    出生1928年3月19日
     瑞士蘇爾塞
    逝世2021年4月6日(93歲)
     德國圖賓根
    國籍 瑞士
    教派Catholic
    職業
    • Professor of theology
    • Writer
    母校Pontifical Gregorian University
    簽名{{{signature_alt}}}

    漢斯·昆(德語:Hans Küng發音:[ˈhans ˈkʏŋ];1928年3月19日-2021年4月6日[1]),譯名一作孔漢思瑞士天主教神父神學家倫理學家、漢學家作家。自1995年起,他一直是全球倫理基金會的主席。

    與聖座的關係[編輯]

    孔漢斯認同自己是「一個有良好信譽的天主教神父」,但聖座已取消了他教導天主教神學的權力。1979年,他不得不離開了天主教教席,但仍在圖賓根大學作為基督教神學教授,1996年以來他在那裡任名譽教授;不過,昆沒有正式被允許講授天主教神學。

    與教宗的關係[編輯]

    與中國的關係[編輯]

    著作[編輯]

    英文譯本

    參考文獻[編輯]

    1. ^ Lefevere, Patricia. Hans Küng, celebrated and controversial Swiss theologian, has died. National Catholic Reporter. 6 April 2021 [7 April 2021].

    外部連結[編輯]

    參見[編輯]





    《莫扎特的自由與超驗的蹤跡》 (Wolfgang Amadeus Mozart,1756-1956 und Mozart – Spuren der Transzendenz)

    作者巴特(Karl Barth1956)漢斯‧昆 (Hans Küng)1991
    出版社道風書社 1996
    ISBN9789627409793



    本 書提供了莫札特音樂與基督神學的關係的兩份現代文獻: 一、現代基督新教神學泰斗卡爾‧巴特(K. Barth)在莫札特誕辰二百週年時寫的幾篇饒有興味的隨筆; 二、現代天主教神學最有影響的思想家漢斯‧昆(Hans Kung)在莫札特忌辰二百週年時寫的兩篇研究論文。


    池田大作( Daisaku Ikeda)對話錄文集:Dawn After Dark with René Huyghe, (1991/2008),

    $
    0
    0
    Daisaku Ikeda (池田 大作Ikeda Daisaku, born 2 January 1928)
    https://en.wikipedia.org/wiki/Daisaku_Ikeda


    2021.4.11想看的對話


    20世紀的精神教訓:戈爾巴喬夫與池田大作對話錄


    32開,36萬字,520頁;1996日文/2005中文:注意日文書名。
    我一翻開,兩人大談歌德/漸進革命等等,因為採筆談,所以"引用"可以很淵博



    https://hcbooks.blogspot.com/2007/10/20.html


    2016
    池田大作( Daisaku Ikeda)與世界賢人、學者的對話錄,可能有數十本了。台灣早期的出版者有遠流等。
    台北市的正因文化出版社出了十幾本對談集。有意思的是,下述博客來網站似乎未包括這些書。



    在博客來網站,池田大作的書有53筆,包括一筆是

    新‧人間革命 (第二十五卷)中文書 , 池田大作天地圖書,出版日期:2014-04-01





    敦煌的光彩:池田大作與常書鴻對談錄(修訂版)中文書 , 常書鴻池田大作三聯,出版日期:2015-06-10
    優惠價: 9 折,396元
    。” 池田大作與常書鴻,兩位來自不同國度、有不同經歷的名人相聚一起,緊扣敦煌藝術,談古說今,講東道西,從東西文化的匯聚、傳播、影響一直談到他們的志趣、愛好、雄心、經歷和彼此的友情。本書正是這些談話的記錄。 閱讀本書,猶如一次深邃的精神旅行...... more

    歷史與傳承:章開沅與池田大作的對話中文書 , 章開沅、池田大作商務,出版日期:2013-04-01
    優惠價:350元
    1.本書為池田大作與章開沅的對談集,他們就歷史、教育、中日關係與對世界的未來展望這四個領域,提出了獨到的見解,並以人類的歷史經驗,總結教訓,重新考察現今情況,努力建設和平世界。 2. 對話內容淺白易讀,同時亦反映池田先生與章教授的歷史...... more

    新‧人間革命 (第二十五卷)中文書 , 池田大作天地圖書,出版日期:2014-04-01

    本書以「福光」、「共戰」、「薰風」及「人才城」四個章節為篇幅,描述了山本伸一在1977年中於福島掀起的廣宣流布的「人間革命」潮流的經緯。 此後他風塵僕僕,從福島轉戰福岡,九州大地的和平之戰也拉開了... more

    走在大道上:我的人生記錄(第二卷 1982-1989)中文書 , 池田大作商務,出版日期:2014-
    “不求顯赫揚名,而是向世界播下和平的種子,完成寶貴的一生。” 戰爭從沒因時代更迭而停止,民眾永遠是炮火下的受害者。 池田大作主張人性教育,鼓勵人與人、國與國的和平共處,積極推動和平與人權的人道主義。他以豐富的個人經歷作印證,在本文...... more

    我的佛教觀中文書 , 池田大作王遵伸牛津大學,出版日期:2014-01-01

    作者取材眾多佛學家和印度學家的研究論文,從中得到啟發,在書中概述釋迦牟尼的一生,探索佛教的歷史,研究它在印度的早期發展和盡力說明這種宗教的基本原趣和理想。... more

    新人間革命(24卷)中文書 , 池田大作天地圖書,出版日期:2013-08-27

    令人矚目的新農村變革運動…… 作者簡介 池田大作 池田大作先生一九二八年生於日本,現任日本創價學會名譽會長、國際創價學會會長。身兼民主音樂協會、富士美術館、東洋哲學研究所及由創價幼稚園至創價大學等文化教育機構的創辦人,又榮任北京大學名譽教授...... more

    讓愛成長:新時代女性的箴言中文書 , 池田大作商務,出版日期:2012-07-01
    優惠價:350元
    及指引。 作者簡介 池田大作 日本創價學會名譽會長、國際創價學會(SGI)會長。1928年出生於東京。創辦創價大學、美國創價大學、創價學園、民主音樂協會、東京富士美術館、東洋哲學研究所等。著作甚豐,有《給妳希望、勇氣和幸福-365日...... more

    新人間革命(22卷)中文書 , 池田大作天地圖書,出版日期:2011-10-01

    的新堡壘。 作者簡介 池田大作先生 1928年生於日本,現任日本創價學會名譽會長、國際創價學會會長。身兼民主音樂協會、富士美術館、東洋哲學研究所及由創價幼稚園至創價大學等文化教育機構的創辦人,又榮任北京大學名譽教授、香港大學名譽博士等...... more

    四季箴言中文書 , 池田大作商務,出版日期:2011-06-01

    、家庭、和平、教育等問題發表的智慧性言論之結集。 書中這些箴言告誡讀者,只有保持進取向上的人生態度以及樂觀和平和的心態,才能最終獲得人生的最大幸福。 作者簡介 池田大作 日本創價學會名譽會長、國際創價學會(SGI)會長。1928年出生於...... more

    我的釋尊觀中文書 , 池田大作牛津大學,出版日期:2011-02-10

    釋尊是佛教的創始者,也有人稱「釋迦」或「佛陀」,由於其誕生地印度原無記錄歷史的習慣,有關他的確實記錄變得非常有限。日本創價學會名譽會長及國際創價學會會長池田大作的著作《我的釋尊觀》,吸取了現代的學問成果,從他的個人視點,以對話方式描繪了...... more

    新.人間革命 (21卷)中文書 , 池田大作天地圖書,出版日期:2010-11-08

    一個外國大學頒授的名譽稱號,時至今日,他已獲得近三百個榮譽學位,創造了一個奇蹟。 作者簡介 池田大作先生 一九二八年生於日本,現任日本創價學會名譽會長、國際創價學會會長。身兼民主音樂協會、富士美術館、東洋哲學研究所及由創價幼稚園至創價大學...... more

    法華經的福德中文書 , 池田大作明報出版社,出版日期:2009-08-01

    國際創價學會會長池田大作與三名年青佛教研究學者以座談形式,從不同角度、深入淺出去探討這部被譽為佛教「經王」 的《法華經》。 《法華經》分為八卷二十八品——本書收錄了「見寶塔品」、「提婆達多品」、「勸持品」、「安樂行品」及「從地涌出品...... more

    我的天台觀中文書 , 池田大作卞立強牛津大學,出版日期:2009-07-01
    優惠價: 79 折,316元
    ,佛法在日本的發展就會失去光明,處於暗夜之中。 作者簡介 池田大作 日本創價學會名譽會長、國際創價學會會長。1928年出生於日本東京都。創立創價大學、美國創價大學、創價學園、民主音樂協會、東京富士美術館、東洋哲學研究所、戶田紀念國際和平...... more

    文化藝術之旅中文書 , 池田大作、饒宗頤、孫立川天地圖書,出版日期:2009-07-01

    日本著名宗教領袖;社會活動家池田大作與本港著名國學大師饒宗頤及文化學者孫立川的對談集,內容豐富。涉及中日兩國的文、化藝術交流史、治學之道、藝術理論探索,深入淺出。具知識性,貼緊現代;中日文化比較,同異之剖析。 作者簡介 池田大作 創價...... more

    與大師感悟人生中文書 , 海倫凱勒、池田大作、培根、居禮夫人豐閣,出版日期:2008-09-04
    優惠價: 9 折,179元
    優美的散文讓人沈醉,寓含哲理的散文讓人深思。本書選編了啟迪生命智攦的哲理散文,字里行間充滿了詩人的敏感和思想家的敏銳,文筆優雅自然,清新精緻,涵蓋了人生與自然、親情與友情、生存與死亡等永?的生命主題,...more

    探求一個燦爛的世紀中文書 , 金庸,池田大作遠流,出版日期:1998-10-16
    優惠價: 9 折,315元
    一九九五年十一月,池田大作訪港時拜訪了金庸,二人一見如故,促膝而談,海闊天空,縱橫人間。此後又通過書信不斷的補充、討論和修訂。這些對談的內容分為:「人生觀」、「歷史觀」、「文學的角色」、「亞洲的未來」、「世界和平的方向」等,而以「九七問題...... more

    我的佛教觀中文書 , 池田大作葉露華水牛,出版日期:1992-07-15
    優惠價: 9 折,135元
    不用說,佛教並非有關釋尊個人的事。佛的生命既然是無始無終、永遠普遍的存在,那麼,佛教也便是為全人類而展開的宗教。在釋尊滅度後的印度,他的弟子們也曾聚合在一處結集佛教,產生了堪稱人類正史奇蹟的龐大佛典。...more

    為時未晚中文書 , 奧里利歐裴徹池田大作牛津大學,出版日期:1992-09-03

    。人類的生存正受到嚴重威脅。 裴徹是羅馬俱樂部的創始者,一直致力於評估人類的生存狀說;池田大作幾十年來風塵僕僕,宣揚佛教普渡眾 生,爭取和平。在本書中,表現了他們的俗世情懷和應付人類危機的精闢見解。在詳細討論了人與大自然、人與人的關係後...... more

    暢談東方哲學︰池田大作與錢德拉對談錄簡體書 , (日)池田大作四川人民出版社,出版日期:2012-01-01

    是日本著名社會活動家、宗教活動家和佛教大家池田大作先生與錢德拉博士的對談集。錢德拉博士是印度文化國際學院理事長,精通梵文和巴利文等22種語言,著作達462種,是東方文化研究的知名學者。 本書以東方哲學史上出現的精神巨人為主軸,以當今世界...... more

    池田大作集簡體書 , [[日]池田大作著]何勁松編選上海遠東出版社,出版日期:2003-01-01

    本書按時間的先後順序,選編了池田大作的37篇作品,包括“成為人道的世紀——對21世紀的建議”、“建立平等互惠的地球社會——在美國日本協會主辦的歡迎會上的講話”、“東西文化交流的新道路——在莫斯科大學的講演”等。......

    池田大作 佛教對話叢書(全四冊)簡體書 , 池田大作四川人民出版社,出版日期:2001-02-01


    探求一個燦爛的世紀:金庸/池田大作對話錄簡體書 , 金庸,[日]池田大作著北京大學出版社,出版日期:1998-01-01
    優惠價: 87 折,104元

    暢談東方智慧簡體書 , [日]池田大作等 著卞立強譯四川人民出版社,出版日期:2004-01-
    為了把“戰爭與暴力的世紀”改變成“和平與共生的世紀”,“東方智慧”能夠承擔什麼樣的使命——圍繞這個人類歷史性的課題,日本著名作家、創價學會會長池田大作和現代中國具有代表性的兩位有識之士——國學泰斗季羨林及其弟子蔣忠新教授,進行了長達七年...... more

    走向人道世紀:談甘地與印度哲學簡體書 , (日)池田大作四川人民出版社,出版日期:2014-01-01

    本書是國際創價學會會長池田大作與甘地非暴力開發中心創辦人拉達克里希南博士的對話集。對話圍繞甘地的非暴力思想、甘地師徒的主要活動經歷,從教育問題、師徒關系、非暴力源流、甘地思想對世界的影響以及21世紀的精神革命等五個方面進行了深入剖析。...... more

    聯結地球的文化力:高占祥與池田在作對話錄簡體書 , 高占祥 池田大作著中國人民大學出版社,出版日期:2011-12-01


    走在大道上︰我的人生記錄(第二卷)簡體書 , (日)池田大作湖南師範大學出版社,出版日期:2011-01-01


    走在大道上︰我的人生記錄(第一卷)簡體書 , (日)池田大作湖南師範大學出版社,出版日期:2011-01-01


    我的人學簡體書 , [日]池田大作銘九 龐春蘭 等北京大學出版社,出版日期:2010-06-01
    優惠價: 87 折,198元
    《我的人學》是池田大作先生的一部力作,原書由日本讀賣新聞社于1988年出版,全書通過對世界上古今的歷史人物,如拿破侖、開普勒、南丁格爾、武田信玄、吉田松陰、歌德、魯迅、笛卡兒、林肯、羅斯福、羅曼羅蘭等,和對世界名著《浮士德》、《戰爭與和平...... more

    四季箴言簡體書 , [日]池田大作卞立強四川人民出版社,出版日期:2010-05-01

    樂觀和平和的心態,才能最終獲得人生的最大幸福。 本書在日本非常暢銷,自2002年初版以來,迄今已11次,印數達數百萬冊。為廣大青年朋友歷煉心靈和心智的上佳讀本。 池田大作,1928年1月出生于東京。創價學會名譽會長、國際創作學會(SGI)會長...... more

    新婦女抄︰在胸中回蕩的話語簡體書 , (日)池田大作中國文聯出版社,出版日期:2010-03-01


    文化藝術之旅簡體書 , 饒宗頤 [日]池田大作 孫立川廣西師範大學出版社,出版日期:2009-11-01

    本書是饒宗頤、池田大作、孫立川的對話錄。對談為期一年,孫立川策劃、纂輯,參與談話的同時,亦旁征博引大量相關背景資料,俾資閱讀理解。 池田大作與饒宗頤從回顧青春時代的求知步伐開始,追索人生旅途中文化藝術的進益之道;由對藝術之美的追尋,揭示...... more

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    本書收錄了池田先生關于中國、中國人民和中國文化的所有根本觀點,也即他的友好和感恩的“中國觀”;帶您目睹和見證幾十年來池田先生及其領導的創價學會為促進中日友好關系以及在中日人民之間架設通向和平和友誼的心...more
    我的世界交友錄(第二卷)簡體書 , (日)池田大作湖南師範大學出版社,出版日期:2009-03-01
    優惠價: 87 折,198元

    佛教東來 -- 續我的佛教觀中文書 , 池田大作牛津大學,出版日期:2008-07-01
    優惠價: 95 折,380元
    中國化」,不外是「世界宗教化」。佛教廣泛地為人們所接受,大概是由於它緩解了不同民族圍繞?霸權而產生的糾紛和苦惱。 作者簡介 池田大作 為日本創價學會名譽會長、國際創價學會會長。1928年出生於日本東京都。創立創價大學、美國創價大學、創價學園...... more

    對話的文明︰談和平的希望哲學簡體書 , [日]池田大作 [美]杜維明卞立強 張彩虹四川人民出版社,出版日期:2008-06-01

    。 池田大作,日本創價學會名譽會長、國際創價學會(SGI)會長。1928年出生于日本東京都。創立創價大學、美國創價大學、創價學園、民主音樂協會、東京富士美術館、東洋哲學研究所、戶田紀念國際和平研究所等。著作等身,主要有《人性革命》(12卷)、《我的...... more
    談幸福簡體書 , (日)池田大作中國文聯出版社,出版日期:2007-03-01
    優惠價: 87 折,78元
    我的世界交友錄 第一卷簡體書 , (日)池田大作湖南師範大學出版社,出版日期:2006-09-01


    20世紀的精神教訓簡體書 , (俄)戈爾巴喬夫,(日)池田大作著社會科學文獻出版社,出版日期:2005-06-01
    優惠價: 87 折,183元
    這本書是獻給即將過去的20世紀的。作為這本對話錄的合著者的人,分別出生于20世紀的20年代及30年代這一命運的轉折時期,而且苟活著經歷了這大半個世紀。這個即將逝去的世紀為我們留下了什麼教訓呢?圍繞此一... more

    新女性抄簡體書 , 池田大作上海財經大學出版社,出版日期:2004-06-01


    黑夜尋求黎明簡體書 , (日)池田大作,(法)尤伊古 著中國國際廣播出版社,出版日期:2003-10-01
    優惠價: 87 折,209元
    來自世界的兩極的思想,如東方(也可以說是遠東)和西方,一直為根本不同的傳統、文化和宗教所掩蓋,有必要在客觀的共同努力中對這些思想進行比較對照。由池田大作先生主導著手的這次對話,就是為了這個目的。 如果人們把這個對話不是當作兩上齒輪的吻合...... more

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    我的人學(下)中文書 , 池田大作銘久,潘金生,龐春蘭凡異,出版日期:2002-04-29
    優惠價: 9 折,225元

    人生問答簡體書 , [日]池田大作,[日]松下幸之助著卞立強譯中國文聯出版社,出版日期:2000-01-01

    本書是池田大作和松下幸之助以書信往返的形式交談的問答集,內容涉及到人生與社會的各方面的問題。如看待人與人生、生與死、宗教、道德、政治、教育和文明的觀點以及日本今後的道路等。...... more

    我的天台觀簡體書 , [日]池田大作卞立強 譯四川人民出版社,出版日期:1999-03-01
    優惠價: 87 折,63元
    本書為“宗教與世界叢書”之一,是著名學者、思想家池田大作先生與兩位青年佛學家的對話錄。天台(智[豈頁])是中國杰出的思想巨人,他立足于中國古來諸多思想和佛教思想的交匯處,使中國佛教形成一個能動的體系,使佛教作為一個哲學理論體系得以完成。在...... more

    續‧我的佛教觀簡體書 , [日]池田大作卞立強四川人民出版社,出版日期:1998-04-01

    本書內容包括︰從印度到中國、佛典的漢譯、鳩摩羅什及其譯經事業、教相判釋的展開、求法的旅程、玄奘的偉大長征等。 本書分十部分︰一、從印度到中國;二、佛典的漢譯;三、鳩摩羅什及其譯經事業;四、教相判釋的展...more

    人生箴言簡體書 , [日]池田大作著卞立強譯中國文聯出版社,出版日期:1995-01-01


    我的釋尊觀簡體書 , [日]池田大作四川人民出版社,出版日期:1993-06-01

    作為《宗教與世界》叢書之一,繼《我的佛教觀》、《社會與宗教》之後,最近四川人民出版社又刊行拙著《我的釋尊觀》中文版。能得此機會,向關心佛教及一般宗教的中國讀者傳達我的一部分見解,令我喜不自禁,感激無量...more

    社會與宗教簡體書 , [日]池田大作 [英]B.威爾遜梁鴻飛 王建四川人民出版社,出版日期:1991-01-01

    在本書中,我們從宗教對社會生活產生影響的角度進行透視,把著眼點放在生活在急劇和徹底變化著的世界中的人類方面。在此前提下,我們討論了宗教感情的本質、奇跡的特征、死亡與牛命觀的意義、神秘仁義、理性的限度等...more

    我的佛教觀簡體書 , [日]池田大作潘桂明四川人民出版社,出版日期:1990-04-01

    賦有價值的方向。 本書是池田大作和野崎勛、松本和夫兩位佛學大師之間的對話記錄,涉及佛典的結集、阿育王、東西文化的交流、大乘佛教的興起、法華經的精神等內容。...... more

    生命凱歌--------我的人生思考中文書 , 池田大作 著周玉琴張老師文化

    佛法與宇宙簡體書 , 卞立強等譯[日]池田大作等著經濟日報出版社,出版日期:1997-01-01
    優惠價: 87 折,167元 ----2007
    昨天還在日本的網站上還看到池田大作( Daisaku Ikeda)這本書籍的廣告:
    (20世紀的精神教訓:戈爾巴喬夫與池田大作對話錄)(北京:社會科學文獻出版社,2005)

    M S Gorbachev:「每個人自己的人生命題,其實是由少年時期的切身體驗及所經歷的人生經驗所形成的。」((20世紀的精神教訓:戈爾巴喬夫與池田大作對話錄)(北京:社會科學文獻出版社,2005,頁十二)


    「我是以馬克思的共產主義思想為出發點的,而您卻是以佛法的廣大世界為出發點的。如此二種不同的文化背景,二種何其不同道路上走過來的二個人卻能夠衛繞一個共同的主題進行對話,並且找到了共同的倫理基礎。我覺得,這一事實本身就足以說明了陶多多的問題。全人類的價值——是基於一種立足現實,構成不同文明的融合與互相理解的。」——米哈伊爾.S.戈爾巴喬夫 摘自本書〈結束對談〉篇中


    選載:
    人、歷史、命運人類必經之路圍繞永遠的課題

    池田:與戈爾巴喬夫總裁真是緣份不淺啊!能進行這樣的對話,我實在是十分愉快的。

    戈爾巴喬夫:我也深有同感!我想以此為契機好好學習,與真正的朋友傾談是一件富有意義的快事。  這樣的對話,於我來說還是第一次,而您在這方面可謂是輕車熟路,從與湯因比博士1對話開始,已出版了好幾本同各方人士的對話集,您是一位經驗豐富的能手(笑),因此,該以您主動出擊,提出問題,掌握方向,請多加關照。

    池田:豈敢!豈敢!  關於我們這本對談集的標題,您提出以《20世紀的精神教訓》為題目名,我舉雙手贊成。  我是佛法專門出身的,而您是政治方面的專家。但是,鄙見以為不應拘泥於我們倆所擅長和熟悉的專業來談,而應涉及更廣泛的範疇。而且,為了下一代,更應無所忌憚,坦率地進行對話。

    戈爾巴喬夫:我全然贊同您的想法。
    最近,我剛開始撰寫回憶錄,這才發覺真是一件何等艱難之事,常有不知如何落筆之時。因此,以這樣的對談形式,我想,既可以縱論人生的大千世界,又可以將自己的個人歷史直率地談談,留存給下一代。  
    我期待,我們的這個對話集能活在未來,也期待能與您一起去尋找人類的前進之「道」。池田:說得好!讓我們攜手前進吧!  
    您與我都將視點落在「人」這一點上,正是殊途同歸,所見略同。不論是政治還是宗教,對於人類來說,這到底意味著甚麼?對人是否有益或有害?在這個問題的「覺悟」上,我以為是相同的。  
    另外,即使是信仰與看法不同的人之間,不是也可以饒有興趣地交換互相的看法嗎?

    戈爾巴喬夫:是的,很有可能是這樣的。  

    無論是「改革運動」



    目录
    前 言第一章:人、历史、命运
    人类必经之路
     围绕永远的课题 赠给21世纪青年的礼物 先驱者背负的“命运” 天命·使命——责任感的别名 实行民主改革的勇气与信念的行动 象征着战争与革命世纪的事件 特权阶级性的发想之悲剧 大乘佛教的“平等”、”同苦“及”共生”的思想 对知识的憧憬与学友的挚情 不被录用改变了人生 将“命运”变换为”使命”的一念

    我的青春、我的故乡 阿育王、甘地、尼赫鲁的“非暴力” 一个人的“革命” 正视现实的生活态度 从骇人的考验中成长 对“苦难之人”拥有共感的水源 狡猾的修行僧(教士)可怕之处 年轻时代的艰辛锻炼了人 最困难的日子成为最令人缅怀的纪念 故乡斯塔夫罗波尔的自由与民主的传统 给生活方式带来影响的哥萨克精神 孕育了“国际主义者”的历史环境 “风土”创造了“人性” 比诸“矛盾”与“对立”,更应将“宽容”与“调和”置于首位 破除闭关自锁,立足人类的观点

    从“战争的世纪”到“和平的世纪” 惟有青春时代才是相逢相知的时代 “战时之子”——同时代人的共同的苦恼与辛酸 不屈服于困难的勇气之重要性 像富士山一样悠然矗立 善者,“以蜗牛般的速度缓行” “应保持谦逊的态度,弃除傲慢的行为”

    第二章:在人类史的新舞台之上——向着21世纪的改革运动
    改革运动的实质 怎样行使“自由” 反映“真实”的逸话 迎来了艰难时期的年轻的“俄罗斯民主主义” “年轻人应密切注视政治” 如果选择了被踏平的旧路 以身边的人的视点去看自己 “在农村中成长”的背景具有重要意义 社会主义的现实与其“理想”相差太远 “创造未来”源自于“不忘过去” “师徒之谊”、“报恩之道”才是人性的最高境界 相信人的蕴奥 不是“宣传平等”,而是“以平等为生” “不断前进”的人才是永远的胜利者

    大权在握时的光荣与苦恼 实现苏美首脑会谈的富有勇气的一步 就彼得大帝的改革而作出的评价 基督教的救世主降临说之功过 为建立民主性社会的“思想”与“责任感” “由下而上”的变革之机运 “以既有的现实”为出发点 恩师的信念:“政治是一种技术” “人类的价值”、“民众”、“对话”就是人性的复归 失去了自由的言论也就失去了人的灵活性 作为开拓新世纪“武器”之对话

    改革世界的“第一步”之决断——新思维外交与资讯公开化 将失序称为“自由”的悖论 “无法生活在虚伪之中” 民众成为自主的主角、历史的主角 千里之行,始于足下 从信念与确信中支撑起“语言的力量” “新思维外交”拉开了新的历史的帷幕 告别意识形态之争,朝向现实主义迈进 “共生”才是开辟21世纪新天地的关键 人该有为了人的“回归常识”

    选择“软能”的时候——“震憾世界的三天”的真相 作为精神革命的改革运动 “不纯的手段总是以不干净的目的而告终” 对苏联“刮目相待”的丰富的直接交流 “冷战”最终只能造成时代的混乱与黑暗 在考验中直面自己的使命 人的根本平等是民主主义的根本 软能的“核心”是“信赖”和“友情” 对政治视同儿戏的危险横行于世 惟有“开阔的人格”才能解决一切纷争

    第三章:宗教——人类的标志
    乐观主义的优良品质
     “人性化”才是即将来临时代的中心点 人类将面对着什么样的“考验”呢? “分裂”是恶,“结合”是善 陀斯妥也夫斯基暮年的“事件” 年轻人中出现的“精神空虚”之影 最佳人物共同的“乐观主义” “宗教战争”的愚蠢行动何时才能终结? 怎样思考宗教的宽容与非宽容呢? 朝着“符合正义的和平”之道 寻求一种暖人心怀的批判精神

    东方与西方相遇之际——人类的价值与宗教的智慧 最重要的价值是“人的生命” 围绕宗教的普遍性意义进行思考 从“外向的规范”到“内向的规范” 宗教的生命线——是对民众的奉献与救赎 与巨大的权威进行过交锋——托尔斯泰的宗教观 陀斯妥也夫斯基对天主教的见解 主张“先有行动”的歌德 为追求“有价值的东西”而活着 为了解人自身的内在探索 “开拓”、“完备”、“苏生”之三义 能够说出“善”即是“善”、“恶”即是“恶”的人的权利

    成为21世纪的世界宗教的条件——“人性的再生”和新文艺复兴的潮流 回避历史性悲剧的日本 “第三次的开国”与日本人的心理状态 被指责为“缺乏历史意识”的理由 在经济繁荣中,“文化”与“精神”却日见衰落 共产主义和基督教的相关关系 在世界宗教史中的两种“平等观” 正是“理想社会的神格化”造成了悲剧的根源 在俄罗斯的近、现代史中学习“理想主义的悖理” 拜金主义横行是现代文明的特殊的缺陷 从“为了宗教的人”向“为了人的宗教”发展


    第四章:民族问题的障碍——以“开放的国家”为目标

     面向21世纪最大的人类的课题 从“民族的归属感”到“全人类的归属感” “苏联的解体”给社会带来了什么?  使人们失去判断力的一种“潮流”与“妄想” 偏见与权威主义的言论促使了国家的灭亡 “俄罗斯将归属于自认为是俄罗斯人的所有的人” “普洛克鲁思德斯之床” 平民的生活感觉,才是政治该致力研究的现实 前南斯拉夫的分裂与“民族自决”的理念  将实际存在进行固定化的“语言虚构性”的策略 尝试去追求一个民主化的“开放国家”

    地球是“世界公民”的巨大舞台——投向软能和民族问题的视角 将地球视为自己祖国的“世界公民”不断涌现 发挥“思考之心”的内在性智慧 俄国民族的根柢只相通着世界主义 在“个性”之上开拓着“普遍性” 对抗民族主义的武器是什么? 对被压迫民族的“同苦”的精神 在《哈吉·穆拉特》里观察到的对他人的共感 多民族国家的俄罗斯的历史是一个很大的“教训” 能够自我控制的人,才是真正的胜利者 培养世界公民意识的“宗教性规范”


    第五章:寻求新的文明

    苏联、东欧的共产主义极权专制的失败 东欧的戏剧性变化与现实性社会主义的可能性 为使寄托于社会主义的能量得以发挥 人的“常识”的复归

    现实的人道主义的社会主义 向着协调社会团结与调和发展的社会主义迈进 陀斯妥也夫斯基的社会主义观 实现了类似宗教使命的共产主义意识形态 要好好总结长达70年的共产主义的实验之教训 为达到“个人的幸福和社会繁荣的一致” 深深植根于俄罗斯精神史中的改革运动

    由“内部革命”形成的朝向人本主义的时代 对21世纪的展望中不可或缺的构思的转换 自己胸中的优胜是解决问题的根本 尊重人的明智与常识 贯穿于俄罗斯精神史的“完全人性”与“无穷性” “宗教信仰自由”才是建立民主主义的基础 解剖由道德的放弃产生的恶的《群魔》 启示录文学申诉着人的危机 如何去萌发出一种新的精神性 “八月政变”之后发生的与历史的隔绝 由“内部革命”走向未开拓道路的挑战 “贤人们必须向民众学习” “‘权力’是不值得我们为之自损心灵而去获取的”

    “新人道主义”的世纪 树立生命的尊严观才是最重要的课题 讴歌大地与人、人生合一的日本文学 现代文明的危机就是一种扩张主义思想的危机 歌德看破了近代人道主义的缺陷 对侵犯人的尊严“力量”的一种“精神”的斗争 受到考验的现代文明 成为“历史观”机轴的“时间观”的切换 为了让民众成为主体的时代变革之条件

    朝着“人性复兴的世纪”的目标 “新的人道主义”在于人的自身之中 俄国——恐怖主义的“悲剧”与“病理” “非暴力是勇气的最高境界” 尊重少数意见的民主主义的精神 “樱梅桃李”意味着“尊重他者” 从一元性转换到多元性 在“常不轻菩萨”里看到主体性的实践智慧 在文化的水准上进行相互理解的难处 超出“价值相对主义”的视点 依靠人类文明而雄起的大地 每一个人都是绝对的无上宝贵的存在 让“全人类的价值”成为新的楷模 将21世纪变成人的复兴世纪结束对谈 从新思维到新政治 戈尔巴乔夫 超越:“人的尊严”的危机 池田大作


    译后记

    陳新炎 《約翰.万次郎(John Manjiro)傳奇一生》

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    2021.4.12 晨,陳新炎兄來電,談國外同好刊物大力介紹他對 《約翰.万次郎(John Manjiro)傳奇一生》等的致力,讓他很感動。

    2019.11.27
    文華兄說, 陳新炎《約翰.万次郎傳奇一生》文筆不錯。
    讀書會:好像沒舉行

    洪銘水:談吳濁流《無花果》《臺灣連翹》;陳新炎 、曹永洋 討論《約翰.万次郎傳奇一生》等: 2019年12月9日 周一14點~16點




    2019年12月9日 14 點~16 點

    漢清講堂
    時間:2019年(12月9日 周一14點~16點
    地址:台北市新生南路三段88號2樓
    電話:(02) 23650127
    ***
    洪銘水教授:談吳濁流兩本書《無花果》《臺灣連翹》



    *****
    陳新炎  、曹永洋等多人 討論

    《約翰.万次郎傳奇一生》


      約翰‧万次郎(John Manjiro),生於一八二七年,歿於一八九八年,享年七十一歲,是幕末維新時期,打開鎖國日本的土佐(現在的高知縣海邊)漁夫。

      本書作者陳新炎先生從一九七○年代與日本商社建立貿易關係以來,即開始頻繁出入日本,但一直到二○一五年六月中旬參加四國旅遊才第一次聽到「約翰‧万次郎」這個名字,並看到矗立於土佐清水足摺岬,面向太平洋海邊的巨大銅像。翌日在投宿飯店中意外購得万次郎第五代孫女中濱京(Kyo Nakahama) 女士撰寫的「万次郎傳記」,也開啟了陳先生對這位傳奇人物的興趣。返台後,他向多位知日前輩請益,結果大家都十分陌生,更激起其強烈的好奇心,三年多以來,持續不斷蒐集相關資料,透過這位土佐漁夫的傳奇生涯,一窺十九世紀中葉,日本如何在「鎖國」、「開國」、「尊王」、「攘夷」的洶湧波濤中,經過明治維新,逐步脫胎換骨,進而邁向現代化的歷程。——廖一久(中研院院士)

      新炎兄由於一趟日本四國的旅行,與「約翰‧万次郎」這號歷史人物不期而遇。他深深為這個十九世紀土佐漁夫的傳奇故事打動。於是開始搜集相關書籍與資料,並多次前往高知、沖繩、東京、橫濱參與當地「万次郎之友會」舉辦的活動,更親自到万次郎故居和紀念館參訪拍照。新炎兄的熱情感動諸多日本万次郎之友會會友。他們積極鼓勵這位來自日本域外的唯一亞洲「貴賓」,出版一本華文的万次郎傳記,讓更多人認識這位日本幕末/維新之際,衝破鎖國政策的歷史關鍵人物。——曹永洋(作家)

    作者介紹

    作者簡介

    陳新炎


      陳新炎,1944年出生於當前桃園機場捷運線A10站旁的山腳村。

      省立桃園中學畢業,進入政治大學俄文系就讀。當年「反共抗俄」的時代,讀俄文幾無出路可言,選讀俄文,只能說是鄉下小孩不知天高地厚,異想天開!還好,畢業後,沒有因「俄」而「餓」,實屬萬幸。

      退伍,進入科學儀器和醫療器材的行業,並先後創立雙鷹(科儀)和明陽(醫材)兩家公司,迄今四十多年,仍然運營如常,更屬萬幸。

      十年前,退居經營二線,本擬重拾俄國文學和歷史,以此終老,不意,四年前,一趟日本四國之旅,竟遇上約翰‧万次郎這位土佐漁夫,三年多來的持續摸索探討,再三的更正補充,終於可以出書,欣慰之情,自不待言。惟書中牽涉範圍頗廣,疏漏難免,如蒙賜教,請電郵:apiomson330227@gmail.com,謝謝。

    目錄

    推薦序(一):拼搏精神足堪後人效法  廖一久
    推薦序(二):遇見万次郎  曹永洋
    緣起:只緣瞥見一座銅像
    前言:万次郎一生的歸納

    第一部:「土佐漁夫万次郎」時期( 一八二七至一八四一年夏)
    1.故鄉「土佐清水」
    2.漂流荒島

    第二部:「約翰‧ 万」時期( 一八四一年夏至一八五一年之間)
    3.獲救
    4.前往夏威夷
    5.決定一生的抉擇
    6.學習/體驗
    7.滯留夏威夷的的難友
    8.海上哈佛大學
    9.加州淘金
    10.返鄉準備

    第三部:偷渡受審「万次郎」時期( 一八五一至一八五三年之間)
    11.琉球上陸
    12.漫漫歸鄉路
    13.新世代/新身分

    第四部:「中濱‧ 万次郎」時期( 一八五三至一八九八年)
    14.揭開「開國」序幕
    15.簽訂條約
    16.江戶生活
    17.「咸臨丸」及「遣美使節團」
    18.動盪的幕末
    19.明治時代
    20.赴歐考查及重訪美國的家
    21.退休生活

    第五部:身後
    22.再造之恩,代代不忘
    23.遺緒
    24.万次郎「命運」的旅程
    25.筆者個人感想

    附錄 一: 談捕鯨事業與再讀《白鯨記》
    附錄二:一八四九加利福尼亞淘金熱
    後記:欲罷不能

    前言

    万次郎一生的歸納


      万次郎於一八九八年過世,享年七十二歲。對於大部分讀者而言,万次郎是一個陌生的名字。美國女作家Warinner 為他寫傳記,書名” Voyager to Destiny”,筆者譯之為「命運的旅者」。回顧万次郎的一生,一直被命運推著走,海難、獲救、美國上學、太平洋捕鯨、淘金、回國受審、江戶赴任、咸臨丸赴美、分手二十年後,與救命恩人再度戲劇性見面。

      「万次郎」、「約翰.万次郎」(John Manjiro) 、「約翰.万」(John Mung) 、「中濱.万次郎」(Nakahama Manjiro),這些不同的名字,卻是同一個人。每一個名字代表了万次郎不同階段的人生,為了有助於閱讀,歸納如下:

      1.「漁夫万次郎」時期(一八二七至一八四一年夏):一八二七年出生,一八四一年初春,未曾上過學的漁夫之子万次郎,家貧,與其他四名漁民自宇佐浦上船捕魚。遭逢船難,漂流太平洋,困在無人島上一百四十二天。

      2.「約翰‧ 万」時期( 一八四一年夏至一八五一年之間) :經美國捕鯨船救起, 為了稱呼方便, 美國船員為他取名約翰. 万(John Mung)。一八四三年,隨著捕鯨船來到美國東部麻薩諸塞州,接受美國初級和航海教育,體驗美式生活,成為最早接觸美國文明的日本人,一八四六年至一八四九年,加入美國捕鯨事業,足跡遍及太平洋、大西洋、印度洋各地。一八五零年來到加利福尼亞的沙加緬度礦區,投身淘金行列。一八五一年初登陸琉球,返回日本。

      3.偷渡受審「万次郎」時期( 一八五一至一八五三年之間) :滯留海外十年之後,歷經艱辛,終得返回日本,但在琉球、鹿兒島、長崎、高知遭到留置審問,長達一年又九個月,這段期間,以偷渡回國漂流民身分,回復万次郎本名。

      4.「中濱‧ 万次郎」時期( 一八五三至一八九八年) :一八五三年夏,美國培理准將率黑船來航。日本德川幕府在鎖國政策面臨強烈挑戰之際,万次郎豐富的海外經驗與知識,受到重視,緊急應召,前往江戶,擢升為高級武士,並獲得賜姓「中濱」,從此以「中濱‧ 万次郎」之名,歷經幕末和維新時期,參與日本涉外事務,協助成立航海學校,推廣英語教學等,一八九八年十一月十二日逝世,享年七十二歲。

      万次郎的一生,勇敢地走過每一段波瀾壯闊的時代,他是命運的旅者,而且是一個務實的命運的旅者!



    《約翰.万次郎傳奇一生》,台北:允晨文化, 2019.10 (約翰‧万次郎(John Manjiro),1827~1898,,享年71歲,是幕末維新時期,打開鎖國日本的土佐(現在的高知縣海邊)漁夫。"

    透過這位土佐漁夫的傳奇生涯,一窺十九世紀中葉,日本如何在「鎖國」、「開國」、「尊王」、「攘夷」的洶湧波濤中,經過明治維新,逐步脫胎換骨,進而邁向現代化的歷程。——廖一久(中研院院士)")

    圖像裡可能有文字
    圖像裡可能有1 人

    Les Fleurs du mal (Flowers of Evil 惡之華) by Charles Baudelaire (1821-1867)法應網THE POEMS AND PROSE POEMS. THE CORPSE.幾種中文本 巴黎的憂鬱

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    Les Fleurs du mal (Flowers of Evil 惡之華)  by Charles Baudelaire (1821-1867)法應網



     ' Les fleurs du mal ' by Charles Baudelaire (1821-1867)


    ' Les fleurs du mal ' Avec une étude sur la vie et les , 1917
    by Charles Baudelaire (1821-1867)
    ıllustrated by Tony -George Roux
    Gravur by CH. Clement


    還有 10 張

    Musa Emektr 在 Tony-George Roux (1894-1928) 相簿中新增了 14 張相片




    ' Les fleurs du mal ' Avec une étude sur la vie et les , 1917
    by Charles Baudelaire (1821-1867)
    ıllustrated by Tony -George Roux
    Gravur by CH. Clement
    https://archive.org/deta…/lesfleursdumalav00bauduoft/page/n9



    Carlos Schwabe, Jul 1866-Jan 1926 : Remords (Les Fleurs du Mal)Remorse (The Flowers of Evil)

    Max Retallack



    Carlos Schwabe : Remorse : The Flowers of Evil








    http://fleursdumal.org/
    FleursDuMal.org
    Fleursdumal.org is dedicated to the French poet Charles Baudelaire (1821 - 1867), and in particular to Les Fleurs du mal (Flowers of Evil). The definitive online edition of this masterwork of French literature, Fleursdumal.org contains every poem of each edition of Les Fleurs du mal, together with multiple English translations — most of which are exclusive to this site and are now available in digital form for the first time ever.
    QuickStart. If you're new to Baudelaire, or if you're not interested in the nuances of the various editions of the Flowers of Evil, you should browse poems using the 1861 Table of Contents. This is the definitive edition of Les Fleurs du mal and contains most everything the casual browser would want to read, except perhaps the "condemned poems" which you can find in Les Épaves (scraps).
    The advanced reader of Baudelaire will want to take advantage of the different ways to view the poems that make up Les Fleurs du mal.
    » 1857 Table of Contents
    This was the first edition of Les Fleurs du mal and contained a hundred poems written in the 1840s and 1850s. (Note that this table of contents reflects the original order of the 1857 edition. However, the French poems to which it links are the later "definitive" versions of the poems published in 1861.)
    » 1861 Table of Contents
    This second edition contained thirty-five additional poems and the new "Tableaux parisiens" section. However, it lacked the six poems censored from the first edition.
    » 1866 Les Épaves
    While living in Brussels, Baudelaire and his publisher decided to put out this collection of "scraps" containing a miscellany of poems. Most important, it included the six poems censored from the first edition of Les Fleurs du mal, which were illegal to publish in France until the 1940s.
    » 1868 Table of Contents
    This edition of Les Fleurs du mal was prepared after Baudelaire's death by two of his friends. Modern scholars reject this version because they question some of the changes the friends made. Preference is therefore given to the last version overseen by Baudelaire himself, which was the 1861 edition.
    All of the tables of contents give the titles in French, with literal English translations of the titles in smaller type. Please note that Supervert has made every effort to be accurate in handling Baudelaire's poetry. If you happen to notice any errors, no matter how small, please let us know.

    http://fleursdumal.org/1861-table-of-contents



     

    Charles Baudelaire. THE POEMS AND PROSE POEMS. THE CORPSE.幾種中文本  巴黎的憂鬱

    THE POEMS AND PROSE POEMS

    OF

    CHARLES BAUDELAIRE

    WITH AN INTRODUCTORY PREFACE BY

    JAMES HUNEKER

    NEW YORK
    BRENTANO'S
    PUBLISHERS
    1919

    CONTENTS

    CHARLES BAUDELAIRE by James Huneker

    THE FLOWERS OF EVIL

    The Dance of Death
    The Beacons
    The Sadness of the Moon
    Exotic Perfume
    Beauty
    The Balcony
    The Sick Muse
    The Venal Muse
    The Evil Monk
    The Temptation
    The Irreparable
    A Former Life
    Don Juan in Hades
    The Living Flame
    Correspondences
    The Flask
    Reversibility
    The Eyes of Beauty
    Sonnet of Autumn
    The Remorse of the Dead
    The Ghost
    To a Madonna
    The Sky
    Spleen
    The Owls
    Bien Loin D'Ici
    Music
    Contemplation
    To a Brown Beggar-maid
    The Swan
    The Seven Old Men
    The Little Old Women
    A Madrigal of Sorrow
    The Ideal
    Mist and Rain
    Sunset
    The Corpse
    An Allegory
    The Accursed
    La Beatrice
    The Soul of Wine
    The Wine of Lovers
    The Death of Lovers
    The Death of The Poor
    The Benediction
    Gypsies Travelling
    Franciscæ Meæ Laudes
    Robed in a Silken Robe
    A Landscape
    The Voyage

    LITTLE POEMS IN PROSE 巴黎的憂鬱

    The Stranger
    Every Man His Chimæra
    Venus and the Fool
    Intoxication
    The Gifts of the Moon
    The Invitation to the Voyage
    What Is Truth?
    Already!
    The Double Chamber
    At One O'clock in the Morning
    The Confiteor of the Artist
    The Thyrsus
    The Marksman
    THe Shooting-range and the Cemetery
    The Desire to Paint
    The Glass-Vendor
    The Widows
    The Temptations; or, Eros, Plutus, and Glory

    https://www.gutenberg.org/files/36287/36287-h/36287-h.htm





    THE THYRSUS.
    TO FRANZ LISZT.

    What is a thyrsus? According to the moral and poetical sense, it is a sacerdotal emblem in the hand of the priests or priestesses celebrating the divinity of whom they are the interpreters and servants. But physically it is no more than a baton, a pure staff, a hop-pole, a vine-prop; dry, straight, and hard. Around this baton, in capricious meanderings, stems and flowers twine and wanton; these, sinuous and fugitive; those, hanging like bells or inverted cups. And an astonishing complexity disengages itself from this complexity of tender or brilliant lines and colours. Would not one suppose that the curved line and the spiral pay their court to the straight line, and twine about it in a mute adoration? Would not one say that all these delicate corollæ, all these calices, explosions of odours and colours, execute a mystical dance around the hieratic staff? And what imprudent mortal will dare to decide whether the flowers and the vine branches have been made for the baton, or whether the baton is not but a pretext to set forth the beauty of the vine branches and the flowers?

    The thyrsus is the symbol of your astonishing duality, O powerful and venerated master, dear bacchanal of a mysterious and impassioned Beauty. Never a nymph excited by the mysterious Dionysius shook her thyrsus over the heads of her companions with as much energy as your genius trembles in the hearts of your brothers. The baton is your will: erect, firm, unshakeable; the flowers are the wanderings of your fancy around it: the feminine element encircling the masculine with her illusive dance. Straight line and arabesque—intention and expression—the rigidity of the will and the suppleness of the word—a variety of means united for a single purpose—the all-powerful and indivisible amalgam that is genius—what analyst will have the detestable courage to divide or to separate you?

    Dear Liszt, across the fogs, beyond the flowers, in towns where the pianos chant your glory, where the printing-house translates your wisdom; in whatever place you be, in the splendour of the Eternal City or among the fogs of the dreamy towns that Cambrinus consoles; improvising rituals of delight or ineffable pain, or giving to paper your abstruse meditations; singer of eternal pleasure and pain, philosopher, poet, and artist, I offer you the salutation of immortality!




    ****

    THE CORPSE.

    Remember, my Beloved, what thing we met
    By the roadside on that sweet summer day;
    There on a grassy couch with pebbles set,
    A loathsome body lay.

    The wanton limbs stiff-stretched into the air,
    Steaming with exhalations vile and dank,
    In ruthless cynic fashion had laid bare
    The swollen side and flank.

    On this decay the sun shone hot from heaven
    As though with chemic heat to broil and burn,
    And unto Nature all that she had given
    A hundredfold return.

    The sky smiled down upon the horror there
    As on a flower that opens to the day;
    So awful an infection smote the air,
    Almost you swooned away.

    The swarming flies hummed on the putrid side,
    Whence poured the maggots in a darkling stream,
    That ran along these tatters of life's pride
    With a liquescent gleam.

    And like a wave the maggots rose and fell,
    The murmuring flies swirled round in busy strife:
    It seemed as though a vague breath came to swell
    And multiply with life

    The hideous corpse. From all this living world
    A music as of wind and water ran,
    Or as of grain in rhythmic motion swirled
    By the swift winnower's fan.

    And then the vague forms like a dream died out,
    Or like some distant scene that slowly falls
    Upon the artist's canvas, that with doubt
    He only half recalls.

    A homeless dog behind the boulders lay
    And watched us both with angry eyes forlorn,
    Waiting a chance to come and take away
    The morsel she had torn.

    And you, even you, will be like this drear thing,
    A vile infection man may not endure;
    Star that I yearn to! Sun that lights my spring!
    O passionate and pure!

    Yes, such will you be, Queen of every grace!
    When the last sacramental words are said;
    And beneath grass and flowers that lovely face
    Moulders among the dead.

    Then, O Beloved, whisper to the worm
    That crawls up to devour you with a kiss,
    That I still guard in memory the dear form
    Of love that comes to this!



    **

    纪念波德莱尔诞辰两百周年/200th birth anniversary of Charles Baudelaire! Charles Baudelaire's notorious poem "Une charogne" was translated into Chinese by acclaimed Romanticist poet Xu Zhimo/徐志摩 and was published in Yusi/语丝,on December 1, 1924. The Chinese translation of this unusual poem caused a hot debate among many New Culture intellectuals including Lu Xun, Hu Shi, Mao Dun, Guo Moruo. Lu Xun attacked Xu for "transporting a bottle of poison" to corrupt the Chinese people. The long poem ends with these powerful/sublime lines:
    Then, O my beauty! say to the worms who will
    Devour you with kisses,
    That I have kept the form and the divine essence
    Of my decomposed love!
    Here is Xu Zhimo's Chinese version and a vivid animated reading of the poem in French:
    死尸
    我爱,记得那一天好天气
    你我在路旁见着那东西;
    横躺在乱石和蔓草里,
    一具溃烂的尸体 。
    它直开着腿,荡妇似的放肆,
    泄漏着秽气,沾恶腥的粘味,
    它那痈溃的胸膛也无有遮盖,
    没忌惮的淫秽。
    火热的阳光照临着这腐溃,
    化验似的蒸发,煎煮,消毁,
    解化着原来组成整体的成分,
    重向自然返归。
    青天微粲的俯看着这变态,
    仿佛是眷注一茎向阳的朝卉,
    那空气里却满是秽息,难堪,
    多亏你不曾昏醉。
    大群的蝇蚋在烂肉间喧哄,
    酝酿着细蛆,黑水似的汹涌,
    他们吞噬着生命的遗蜕,
    啊,报仇似的凶猛。
    那蛆群潮澜似的起落,
    无餍的飞虫仓皇的争夺;
    转象是无形中有生命的叹息,
    巨量的微生滋育。
    丑恶的尸体,从这繁生的世界,
    仿佛有风与水似的异乐纵泻。
    又像是在风车旋动的和音中,
    谷衣急雨似的四射。
    眼前的万象迟早不免消翳,
    梦幻似的,只模糊的轮廓存遗,
    有时在美术师的腕底,不期的,
    掩映着辽远的回忆。
    在那磐石的后背躲着一只野狗,
    它那火赤的眼睛向着你我守候,
    它也撕下了一块烂肉,愤愤的,
    等我们过后来享受。
    就是我爱,也不免一般的腐朽,
    这样恶腥的传染,谁能忍受——
    你,我愿望的明星!照我的光明!
    这般的纯洁,温柔!
    是呀,就你也难免,美丽的后,
    等到那最后的祈祷为你诵咒,
    这美妙的丰姿也不免到泥草里,
    与陈死人共朽。
    因此,我爱呀,吩咐那趑趄的虫蠕,
    它来亲吻你的生命,吞噬你的体肤,
    说我的心永葆着你的妙影,
    即使你的肉化群蛆!
    1/12/1924

    The Eye of Baudelaire. Parisians: An Adventure History of Paris

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    The Eye of Baudelaire

    November 25, 2016 | by 
    A new exhibition looks at the upheaval in the visual culture of Baudelaire’s Paris.

    François Biard, Four Hours at the Salon, 1847.
    In puritanical America, the intellectual tradition is in exile from the luxury of the senses: Americans hold steadfast to the idea that the right kind of knowledge comes from the Word of books. Harold Bloom’s omnipresent theory of the anxiety of influence would have you think that writers did nothing else but read the work of their forefathers in Oedipal distress, ignoring the sensual theater which makes a part of any lived life. In post-revolutionary Paris, where the optic regime underwent a series of explosive changes as the Romantics and post-Romantics pressed against all limits of language, to ignore the visual influence on literature is to misread it. Images flooded homes in books, keepsake albums, lithographs, small paintings, and photographs; they plastered the streets with, as Baudelaire described it, a “monstrous nausea of posters,” and crowded shop-windows and studios. They covered museums like doilies covered the bourgeois interior; they were in the dark rooms of stereoscopes, erotic printers, and panoramic theaters. It comes as no surprise that the theories of literature of the era made metaphoric use of mirrors (Stendhal), decals (Sand), and screens (Zola).
    At the Museum of Romantic Life, in Paris, curators have set about trying to capture this flurry of imagery. “The Eye of Baudelaire,” commemorating the 150th anniversary of his death, recreates the visual culture in which he was immersed with a collection of paintings, photographs, sketches, and frontispieces. The museum, a stone’s throw from Pigalle, occupies the house where George Sand lived, wrote, and wore her men’s clothes. The rooms, painted in rich, warm colors of burgundy and deep red, replicate the look of an old salon; the architecture, virtually untouched, requires that you cross the courtyard and climb several spiral staircases to enter. 
    *
    Baudelaire spent his childhood visiting artists’ studios; his father, a priest by profession, sketched and painted in his spare time. “When I was young, I couldn’t feed my eyes with enough printed or engraved images,” Baudelaire wrote of this picture-drunken reverie. “I thought these worlds would have to end and their ruins strike me before I would ever turn into an iconoclast.” But iconoclast he would become. Though he hated the press for its thoughtless dogmatism (a Satanic “black beast,” he called it), he took up his first job as a journalist and art critic in the 1840s, and the experience of looking hard at paintings shaped his aesthetics just as much as the experience of translating Edgar Allen Poe. Ingres, whose realism he likened to the new false positivism, he didn’t like; nor did he like the “ever so pretty” portraits of bourgeois housewives by Jean-Hippolyte Flandrin. He enjoyed Eugène Delacroix, whose fury of brushstrokes escaped the “tyranny of straight lines.” In his small exile of an apartment on the Île Saint-Louis, Baudelaire hung Femmes d’Algers dans leur appartement, an allegorical head representing Pain, and the series of Hamlet lithographs (with whom, if it wasn’t already obvious, Baudelaire self-identified)—all by Delacroix, who he deemed “the poet of painting.”

    Frontispiece for Les fleurs du mal, by Félix Bracquemond. Baudelaire didn't like the image and chose to publish the book with his photograph instead.
    The difference between Baudelaire and the generation before him was the loss of hope (“Hope, vanquished, weeps”) and the general sense that material improvements for some did not make for the good of all. The revolution of 1848 destroyed the belief in the bourgeois-middle class as progressive, along with the illusion of language as a realist reflection of the world. Baudelaire ridiculed Victor Hugo, godhead of French Romanticism, and his “belief in progress, the salvation of mankind by the use of balloons, etc.” But even as he founded the tradition that Wallace Stevens dubbed “the poetry of the poor and dead,” Baudelaire—something of a military milksop—remained “physiquement dépolitiqué,” as he put it. His only direct action during the turmoil was to fire one shot, at random. Later he tried to siphon off revolutionaries for the collaborative murder of his stepfather. (The plan was not successful.)
    This was a time when new democratic ideals, social mobility, and a succession of ideologically conflicting regimes overthrew the visual status quo, upsetting the given meaning of physical cues and gestures. The way one interpreted this semiotic chaos—the way you looked at the world—took on profound political import. In this context, a gaze—or the gaze, I should say, as it was pretty much ubiquitously upper-class and male—came to constitute authority. Visual description—of the woman’s body, of the workman’s hands—was thought to be one and the same with moral and medical prescription. Sociologists claimed that prostitutes could be expected to behave themselves only if they were kept under vigilant watch. The destruction of the old Paris and its replacement with broad, straight boulevards was implemented not only under the pretense of improving hygiene and sanitation, but so that the maintenance of such could be properly surveyed by those that lived in the apartments above them.

    Édouard Manet, Olympia, 1865.

    Baudelaire's self portrait, 1860. "Here the mouth is better," he wrote in the margin.
    Baudelaire revolted against this omniscient frame of vision—what he called “the modern lantern which throws its gloom against all objects of knowledge”—with shadow. The apertures of his poems are circumscribed, with obsessively recurring images giving the sense of a narrowing line of sight, as if the speaker were going blind or close to death. There’s light there, but it’s indirect, seeping through a fog or disappearing with the day’s end, another reverie turning out to be mirage. At the exhibit, I was struck by what I could not see, the half-lit figures and sharply detailed foregrounds fading into sky or chiaroscuro. Whenever I picked out Baudelaire’s favorite paintings in a given room, they seemed to be the ones that most forcefully kept their secrets.
    Because the material world was used to classify and control, to turn subjects into objects, it was the unseen which came to constitute a radical subjectivity. “When I look at a good portrait,” Baudelaire wrote, “I guess (divine) at that which is self-evident, but I also guess at that which is hidden.” An empathy rooted in the imagination was the only means of relating to the human being interred beneath the fleshy materialism and false market values of the age. “How convenient it is to declare that everything is totally ugly within the habit [dress] of the époque, rather than applying oneself to extract from it the dark and cryptic beauty, however faint and invisible it is.” Neoclassical ideals and ideas about what did and did not merit artistic treatment still ruled strong; in this context Baudelaire insisted that every culture’s signs are relative, as are its aesthetic criteria. “What is a critic schooled in the traditions supposed to do in front of a modern product from China?” he would ask.
    This kind of embodied vision had its basis in Descartes, who had rooted the process of perception in the retinae’s film rather than in the “pure” senses. Goethe, whom Baudelaire read fastidiously, discovered that when he was shut in a dark room, images stayed in his eyes even when he looked away from them. The turn from emission-based, corpuscular theories to wave-motion explanations of sight further embedded the mind in the body. Baudelaire incorporated these ideas into his work, but he didn’t lose himself in the relativist inferno—“the abyss, the unbridled course”—as the Romantics had, with their extreme subjectivity. He seems to locate truth in the relationship mediated by a reciprocal gaze, between subject and object; between the painting, its painter, and the viewer; between two people walking past each other on the street. Rather than the omniscient, Minerva-like sight implicit in much of Western art, Baudelaire’s “forest of symbols” looks at you “with familiar eyes.”
    *
    This quality would characterize two of the biggest art scandals of the era. Édouard Manet was one of Baudelaire’s closest friends, and though the poet made a point never to write about his art—Manet was presumably too close of a semblable-frère—he would complete the revolution in paint that Baudelaire had started with words. In Olympia and Déjeunersur l’herbe, it was not the nakedness of the woman deemed offensive; it was her reversal of the viewer’s gaze, reminding him that she “cannot be [visibly] understood from any point of view” as Théophile Gautier observed. Unknowable, she guards her subjectivity; only she can understand herself. Manet and Baudelaire were not feminists—I still cringe when I read the poems in which the speaker bites, scratches, or gets drunk off of a woman’s hair. But the essentially private, clouded nature of their subjects would be crucial for the idea that the flâneur-about-town maybe didn’t know all that much about what he was observing on the streets.
    I’ve been thinking about what it means to look at other people in a “post-truth” world, as would be the state of things according to the recent election and confirmed by the OED’s late word of the year. Once, going uptown on the New York subway, a friend told me that he didn’t like the people-watching on public transit. The crowd was ugly; to stare was to become a voyeur, often motivated by Schadenfreude. I found this so sad, imagining a city in which everyone blindfolded themselves in public, stumbling through the streets guided by noises and banisters, removing their masks only when alone or in the presence of people they knew. This isn’t so far from the reality in our world of strangers-as-passersby, where a capitalist infrastructure prescribes most social exchanges. It’s hard to see, really see, someone else from behind the windshield of your car, in the rush from job to gym to supermarket, surrounded by people who are doing the same, all the while being comforted by the intimacies afforded by Facebook. Speaking about the Baudelairean moment, Walter Benjamin would define modernity in terms of the loss of the ability to look.

    Etienne Carat, Baudelaire with etchings, 1863.
    When Baudelaire was on his deathbed, speechless and in the late stages of syphilis, his mother, looking for answers in his overcoat, found two photographs of her son; apparently he’d been keeping these on his person. It’s surprising that he let himself be photographed at all; he likened the camera’s lens to “a dictatorship of opinion,” interrupting the active self-questioning required on the part of the viewing subject so as to prevent his thinking he had mastery over the perceived object. A politics of sight encrypted in the medium itself—physiquement depolitiqué. In the pictures, he seems to be trying to compensate for this perceived defect. He stares at the camera with inflamed black pupils, his eyes making him appear aggressively unhinged, as if trying to pierce through the lens itself. The escape from the mise en abime of flat images and surfaces—what Angela Merkel recently called “the dangers of digitization,” which she likened to the social disruptions of Baudelaire’s own Industrial Age—hinges on the embodied vision for which he once asked. A gaze that appears to be physically depoliticized is dangerous precisely because it is political. The way you look at the stranger who passes you on the street matters; it determines whether or not you let her look back.
    L'oeil de Baudelaire” is on display through January 29 at the Le Musée de la Vie Romantique in Paris.
    Madison Mainwaring is a graduate student at the École des Hautes Études en Sciences Sociales in Paris, where she studies the way women responded to French Romantic ballet in the early nineteenth century. She has contributed to The Atlantic, T: The New York Times Style Magazine, and VICE Magazine, among others.


    We Love Paris


    In 1900, Émile Zola climbed to the second platform of the Eiffel Tower, camera equipment in tow, so he could photograph Paris from every angle — because only photographs could record the panoramic city he had reconstructed in his novels. In 1940, Adolf Hitler, believing he too stood at the center of something, rose from the seat of his car as it slowly circled the Place de la Concorde before dawn; later, from the top of the Parvis du Sacré-­Coeur, he gaped at the city he had fantasized about since boyhood, when he studied street maps and dreamed of reconstructing Paris in the heart of Berlin.
    Heinrich Hoffmann, from “Parisians”
    Adolf Hitler in Paris, 1940.

    PARISIANS

    An Adventure History of Paris
    By Graham Robb
    Illustrated. 476 pp. W. W. Norton & Company. $28.95
    Unlikely bedfellows though they are, Zola and Hitler are denizens of Graham Robb’s “Parisians: An Adventure History of Paris,” a valentine to the City of Light. Robb is no stranger here. The acclaimed British author of biographies of Hugo, Balzac and Rimbaud, he first experienced the city as a boy, when his parents treated him to a week’s holiday as a birthday present. But, as Robb learned, Paris is too volatile and complicated, too historically dynamic, to be illuminated by any one person’s life. His solution: to write, as he explains it, “a history of Paris recounted by many different voices,” a series of character studies arranged to commemorate the shifting streets and sundry plot lines that give meaning to the city.
    雨果傳/ Victor Hugo: A Biography ( Graham Robb)

    Some of the figures in Robb’s Paris are familiar: Marie Antoinette, Baron Haussmann, Charles de Gaulle, even Nicolas Sarkozy. Some of Robb’s characters may be less well known — like Henry Murger, author of “La Vie de Bohème,” whom Robb satirizes as a proto-blogger dishing up “intimate slices of his life” and becoming, in effect, the “literary pimp” of his doomed mistress. Her unhappy life, the basis of his book, was his ticket out of the Latin Quarter and into a grand apartment on the Rue Notre-Dame de Lorette, a “new street with no history and a smooth asphalt surface,” as Robb pointedly notes, “built on wasteground at the point where the Right Bank rises up towards Montmartre.”
    Though Americans may not have heard of the ingenious criminal Eugène-­François Vidocq, his portrait lies at the symbolic heart of Robb’s book. Employed by the police to track down other crooks, Vidocq spent 16 years as head of the Sûreté Brigade and then founded the Bureau of Universal Intelligence, a detective agency with a huge database of information on thousands of citizens. When the bureau closed in 1843, most of the documents vanished, as did the wily Vidocq. A master of surveillance and disguise, he turned up here and there, supposedly spying on Louis Napoleon even as he was advising him. After Vidocq died, his coffin was opened — to reveal not the master criminal but the body of an unknown woman.
    To Robb, the disappearance of Vidocq’s body and of his extensive files, some of which landed in secondhand bookshops, represent the nature of Paris itself, whose very streets come and go. The city was built on sand and swamp and from plugged-up sinkholes. Only a man like Vidocq would know “how many obscure dramas were wiped from the history of Paris by demolition and urban renewal.”
    No reliable map of Paris existed until the end of the 18th century. When Marie Antoinette fled the Tuileries in 1791, her carriage became lost as soon as it left the palace, turning right instead of left, crossing the Pont Royal to the dark lanes of the Left Bank. Louis Napoleon Bonaparte arrived in Paris carrying a map marked with nonexistent streets. By 1853, as Napoleon III, he had employed Georges-Eugène Haussmann to lay waste entire neighborhoods and construct open vistas with broad, leafy boulevards. Napoleon III “buried acres of history,” Robb writes. “A boulevard named after a battle obliterated the mementos of a million lives, and at the end of his reign, the Archives Nationales went up in flames.”
    Yet Robb is less interested in Napoleon III than in Charles Marville, official photographer of the Louvre, who was commissioned to photograph the quartiers Haussmann would soon demolish. “It might be seen as an archaeology in reverse,” Robb wryly notes. “First the ­ruins, then the city that covers them up.” However, in Marville’s photographs the streets are empty. Perhaps long exposures would have reduced any movement to a blur; maybe that’s why he chose to take his pictures in the early morning. In any case, the people of Paris have eerily evaporated, just as Marville would. He sold his business and was never heard of again. “Every living city is a necropolis,” Robb writes, “a settling mountain of populations migrating downwards into the soil.” We retrieve what we can.
    A  century later, the president of the French Republic, Georges Pompidou imagined a Paris of tall towers (to him, the spires of Notre-Dame were too short) made of high-tensile steel, along with a modern museum that would look like an oil refinery. While the Pompidou Center was being built, the historian Louis Chevalier wrote his masterpiece, “The Assassination of Paris,” in a room at the Hôtel de Ville above the one in which Haussmann remapped the city. Yet Chevalier did more than denounce the wreckers and planners. He reconstructed his beloved city from memory. “Left to itself, History would forget,” he explained. “But fortunately, there are novels — loaded with emotions, swarming with faces, and constructed with the sand and lime of language.”
    Although Robb often narrates various sections from the point of view of his characters, inhabiting them and fudging, to a certain extent, the line between traditional history and make-believe, his characters don’t sound alike, which can be a hazard when a historian affects the pose of a novelist. Robb claims he wrote with “a flavor of the time in mind,” and insists he didn’t insert anything artificial into his stories. That “Parisians” required as much research as his earlier, more conventionally structured book “The Discovery of France” is evident on every page. Yet if “Parisians” resembles Simon Schama’s “Dead Certainties,” which is also about the limits of historical knowledge, Robb, in employing the techniques of the novelist, animates his characters mainly for “the pleasure of thinking about Paris.” That pleasure is also the reader’s.
    The Pompidou family inhabited a town house on the Île Saint-Louis next to the building Baudelaire lived in as a young man. It’s no accident that Robb mentions this, for the poet and the novelist (as well as the historian and the photographer, the con man and the archivist) are the true protagonists of his always changing, ­always vibrant Paris.
    Robb even imagines a Proust“acquainted with the law of modern life according to which one’s immediate surroundings remain a mystery while distant places seen in guidebooks and paintings are as familiar as old friends whose material presence is no longer required to maintain the friendship.” And so the miracles of modern life also include a novel, “À La Recherche du Temps Perdu,” that can’t be read between stops on the Métro and that, like Robb’s delightful mapping of Paris, captures living persons in time past, time passing and even time to come.
    Brenda Wineapple is the author, most recently, of “White Heat: The Friendship of Emily Dickinson and Thomas Wentworth Higginson.” Her anthology, “Nineteenth-Century American Writers on Writing,” will be published next fall.

    *****
    Books of The Times

    A Pointillist Tour, Revolution to Riots


    From “Parisians: An Adventure History of Paris”
    “Barricade on the Boulevard Saint-Germain near Rue Hautefeuille, May 1968,” a photograph by Alain Dejean.

    If you’d like a status update on Britain’s tangled feelings about its neighbor France, you could do worse than study The Sunday Times of London’s current hardcover nonfiction best-seller list. At No. 9 is the book in front of us now: the British historian Graham Robb’s admiring “Parisians: An Adventure History of Paris.” More beloved by English readers, though, at No. 4, is a book by Stephen Clarke with this impish title: “1000 Years of Annoying the French.” Garçon, there’s some snark in my soup.

    PARISIANS

    An Adventure History of Paris
    By Graham Robb
    Illustrated. 476 pages. W. W. Norton & Company. $28.95.
    Jerry Bauer
    Graham Robb
    The appearance of one of Mr. Robb’s books on an English best-seller list, or any best-seller list, says good things about the state of British-French relations. It says even better things about the state of literary culture. That’s because Mr. Robb, over the course of a half-dozen books, including excellent biographies of Balzac, Victor Hugo and Rimbaud, and a volume called “The Discovery of France,” has proved himself to be one of the more unusual and appealing historians currently striding the planet. In a better world his books would be best sellers everywhere.
    To observe that Mr. Robb’s books are unusual is to say several things at once. Most obviously, they sometimes apply hardy, free-range kinds of research. “The Discovery of France” was given a jolt of life by his back-road explorations on a bicycle. (“This book,” he wrote, “is the result of 14,000 miles in the saddle and four years in the library.”) They also take unusual forms. In Mr. Robb’s new book one chapter is written like a screenplay, while another employs witty question-and-answer sections that function like lemon juice squeezed over a platter of oysters. Clearly Mr. Robb is restless, and he has little interest in being a droning, by-the-numbers tour guide.
    It’s not hard, however, to think up ways to write stunt history. What’s truly unusual about Mr. Robb is the amount of real feeling and human playfulness he smuggles into his books, those unmistakable signs of a mind that’s wide awake and breathing on the page.
    Did I mention that he is also jaggedly funny? His prose approximates Ian McEwan’s by way of Anthony Lane. In his new book a group of Parisians in the Latin Quarter in the 1840s don’t die from disease, they die from “various illnesses known collectively as ‘lack of money.’ ”
    “Parisians: An Adventure History of Paris” arrives with an odd subtitle (adventure history?) that makes it sound as if it were written on a skateboard and sponsored by Mountain Dew. Here’s what this book really is: a pointillist and defiantly nonlinear history of Paris from the dawn of the French Revolution through the 2005 riots in Clichy-sous-Bois, told from a variety of unlikely perspectives and focusing on lesser-known but reverberating moments in the city’s history.
    Among the set pieces here is an account of a young Napoleon losing his virginity to a prostitute in the Palais Royal; a portrait of the man who created the catacombs; and an investigation into how Marie Antoinette, while attempting to flee the city to save her life, became lost just a few yards from home.
    There’s much more: disquisitions on police work and photographers and playwrights and France’s strange DeLillo-ish history of faked political assassinations; a portrait of Émile Zola’s long-suffering wife; an inquiry into the links between alchemy and the early days of nuclear fission; an account of Hitler’s short tour of Paris’s landmarks; a view of the affair between Juliette Gréco, the actress and later singer, and a young Miles Davis; an assessment of the 1968 student riots; and a glimpse at the politics of Nicolas Sarkozy and the roiling discontents of recent French immigration.
    Mr. Robb builds his histories from small piles of angular details. The section on Napoleon begins by observing “the army of wet nurses who left their babies at home and went to sell their breast milk in the capital.” During an account of one policeman’s search for a criminal who is also a hunchback, Mr. Robb can’t help noting the difficulties: “there were something in the region of 6,135 hunchbacks in Paris.” Once Zola discovered cameras, he writes, he tended to “behave as though he was always about to be photographed.”
    Mr. Robb’s prose is fleet and ingenious. He describes the “sucking sound” of modern French police sirens, the “snickering” of certain neon signs, the melodious “parping of automobiles.” His good humor is infectious. When young men were finally allowed to visit young women in Parisian college dormitories in the 1960s, he writes that they brought “wine, cigarettes, Tunisian pâtisseries, hot dogs and erections.” Describing the soulless towers in immigrant suburban Paris, he notes dryly: “The planes coming in to land at Roissy-Charles de Gaulle always missed them, but the towers were falling apart anyway.”
    Mr. Robb pores over old newspapers, tour guides and photographs. (About one favorite picture, he writes: “So much information is contained in that split-second burst of photons that if the glass plate survived a holocaust and lay buried under rubble for centuries in a leather satchel, there would be enough to compile a small, speculative encyclopedia of Paris in the late second millennium.”)
    He is just as familiar with resources like CNN and eBay, and into a discussion of Quasimodo’s climbing abilities, he casually drops a mention of parkour.
    He extends his embrace to Paris’s new wave of Arab immigrants. “Their Paris was a rap litany of place names that only the most exhaustive guide book would have recognized as the City of Light: Clichy-sous-Bois, La Courneuve, Aubervilliers, Bondy,” he writes. But he adds: “They, too, were children of Paris, and, like true natives of the city, they expressed their pride in angry words that sounded like a curse.”
    Mr. Robb’s animating idea during the composition of “Parisians,” he declares, “was to create a kind of mini-Human Comedy of Paris, in which the history of the city would be illuminated by the real experience of its inhabitants.”
    Through friends in Paris, Mr. Robb writes, he learned things: “a certain Parisian art de vivre: sitting in traffic jams as a form of flânerie, parking illegally as a defense of personal liberty, savoring window displays as though the streets were a public museum.”
    He goes on: “They taught me the tricky etiquette of pretending to argue with waiters, and the gallantry of staring at beautiful strangers.” His book — argumentative, gallant, parked athwart oncoming historical traffic, as if on a dare — is as Parisian and as bracing as a freshly mixed Pernod and water.

    Baudelaire: Selected Poems/ 波特萊爾的《惡之華》/巴黎男女

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    Le Spleen de Paris, also known as Paris Spleen or Petits Poèmes en prose,
    "A Hemisphere in a Head of Hair", 

    胡品清譯的波特萊爾的【巴黎的憂鬱】第七十頁
    【髮茨中的半球】
    『讓我久久地咬碎妳濃密的,黑色地髮瓣.當我咬妳那富於彈性且具有叛逆性的頭髮時候,我好像在吞食回憶。』
    Brune/Blonde, The Online Exhibition, 2010 A hemisphere in your hair, Charles Baudelaire, 1862 1 Charles BAUDELAIRE A hemisphere in your hair (Published in 1862 in, Le Spleen de Paris).


    “Long, long let me breathe the fragrance of your hair. Let me plunge my face into it like a thirsty man into the water of a spring, and let me wave it like a scented handkerchief to stir memories in the air. If you only knew all that I see! all that I feel! all that I hear in your hair! My soul voyages on its perfume as other men’s souls on music. Your hair holds a whole dream of masts and sails; it holds seas whose monsoons waft me toward lovely climes where space is bluer and more profound, where fruits and leaves and human skin perfume the air. In the ocean of your air I see a harbor teeming with melancholic songs, with lusty men of every nation, and ships of every shape, whose elegant and intricate structures stand out against the enormous sky, home of eternal heat. In the caresses of your air I know again the languors of long hours lying on a couch in a fair ship’s cabin, cradled by the harbor’s imperceptible swell, between pots of flowers and cooling water jars. On the burning hearth of your hair I breathe in the fragrance of tobacco tinged with opium and sugar ; in the night of your hair I see the sheen of the tropic’s blue infinity; on the shores of your hair I get drunk with the smell of musk and tar and the oil of cocoanuts.

     Long, long, let me bite your black and heavy tresses. When I gnaw your elastic and rebellious hair I seem to be eating memories.”

    Head of Hair


    O fleece, billowing even down the neck! 
    O locks! 0 perfume charged with nonchalance! 
    What ecstasy! To people our dark room 
    With memories that sleep within this mane, 
    I'll shake it like a kerchief in the air! 

    Languorous Asia, scorching Africa, 
    A whole world distant, vacant, nearly dead, 
    Lives in your depths, o forest of perfume! 
    While other spirits sail on symphonies 
    Mine, my beloved, swims along your scent. 

    I will go down there, where the trees and men, 
    Both full of sap, swoon in the ardent heat; 
    Strong swelling tresses, carry me away! 
    Yours, sea of ebony, a dazzling dream 
    Of sails, of oarsmen, waving pennants, masts: 

    A sounding harbour where my soul can drink 
    From great floods subtle tones, perfumes and hues; 
    Where vessels gliding in the moire and gold 
    Open their wide arms to the glorious sky 
    Where purely trembles the eternal warmth. 

    I'll plunge my drunken head, dizzy with love 
    In this black sea where that one is confined; 
    My subtle soul that rolls in its caress 
    Will bring you back, 0 fertile indolence! 
    Infinite lulling, leisure steeped in balm! 

    Blue head of hair, tent of spread shadows, you 
    Give me the azure of the open sky; 
    In downy wisps along your twisted locks 
    I'll gladly drug myself on mingled scents, 
    Essence of cocoa-oil, pitch and musk. 

    For ages! always! in your heavy mane 
    My hand will scatter ruby, sapphire, pearl 
    So you will never chill to my desire! 
    Are you not the oasis where I dream, 
    My drinking-gourd for memory's fine wine? 


    Přeložil James McGowan



    He wrote several of the important poems in the second edition—including "Le Voyage" (The Voyage) and "La Chevelure" (The Head of Hair)—in 1859, during a long stay at Honfleur in the "Maison Joujou" (Playhouse) of his mother. Whatever the reason for this literary activity, Baudelaire wrote thirty-five new poems between 1857 and 1861, adding "Tableaux Parisiens" to the already existing sections of Les Fleurs du mal and creating more or less the definitive version of the collection. 

    ~~~~
    現在的翻譯本,常有註解,不過,可能只是局部的字意解,無助於了解全文。以《惡之華》第一首為例,詩名benediction ,根據《天主教 英漢袖珍辭典 (1) 祝福;祝聖;祝禱;感謝:通常聖職人員以手畫十字為人或物祈求天主降福之儀式。
    換句話說,這是作者在寫他的降生,乃是受天使的祝福的,他有的是"純粹光輝的王冠",
     人眼,不過是
    充滿哀怨的黯淡鏡子




    "The Venal Muse"
    Muse of my heart, you who love palaces, 
    When January frees his north winds, will you have,
    During the black ennui of snowy evenings,
    An ember to warm your two feet blue with cold?
    Will you bring the warmth back to your mottled shoulders,
    With the nocturnal beams that pass through the shutters?
    Knowing that your purse is as dry as your palate,
    Will you harvest the gold of the blue, vaulted sky?
    To earn your daily bread you are obliged
    To swing the censer like an altar boy,
    And to sing Te Deums in which you don't believe,
    Or, hungry mountebank, to put up for sale your charm,
    Your laughter wet with tears which people do not see,
    To make the vulgar herd shake with laughter.
    *
    Modern poetry begins with Charles Baudelaire (1821-67), who employed his unequalled technical mastery to create the shadowy, desperately dramatic urban landscape -- populated by the addicted and the damned -- which so compellingly mirrors our modern condition. Deeply though darkly spiritual, titanic in the changes he wrought, Baudelaire looms over all the work, great and small, created in his wake.


    歷史上的今天:1867年的今天,我最愛的Charles Baudelaire 逝世
    以下摘自拙作《長眠在巴黎》第74頁
    波特萊爾Baudelaire, Charles(1821.4.9~1867.8.31,巴黎蒙巴納斯墓園第6區)
    現代派詩人,代表作有詩集《惡之華》、《巴黎的憂鬱》等。波特萊爾過世後,與他最討厭的繼父合葬一處,不過還好身邊有他最愛的母親為伴。他的墳墓在第6區,位於園中大路邊上,還算好找,但並不起眼,倒是位於墓園第26和27區間的紀念墓雕頗具巧思。其實從1892年起,波特萊爾委員會便開始討論要幫波特萊爾蓋座紀念墓雕(詩人馬拉美還自告奮勇負責籌款),原委託羅丹負責雕塑,豈料幾經波折,該案遭到延宕,最後終於在1902年改由較無知名度的荷西‧德‧夏爾默瓦(José de Charmoy)製作完成。所謂的「知名度」當然是相較於羅丹而言,其實夏爾默瓦也承製過貝多芬雕像,而同樣位於蒙巴納斯墓園的聖伯夫紀念墓雕(第17區,可參看第102頁〈聖伯夫篇〉)也是他的作品。
    事實上,夏爾默瓦的雕塑線條流暢,造型典雅優美,尤其頗具詩意。他所承製的波特萊爾紀念雕像,地上有尊詩人的臥像,身上纏滿細帶子(我直覺認為應與木乃伊相關,但不知為何典?)。只見詩人雙眉微皺,雙唇緊閉,彷彿正在構思一首幽冥詩作。臥像後另有一座立像「沉思者」,下有巨型蝙蝠雕飾。至於為何出現蝙蝠雕飾,應當是出於《惡之華》第78首〈憂鬱〉一詩,詩人曾寫道:
    當大地變成濕漉牢籠/希望之神在那兒像只蝙蝠/振著羞怯的翅膀朝牆飛去/一頭撞上腐爛的天花版。



    ------


    過去一周每天一二首英譯  此書用字的確有些特色




    Here’s a portrait of poet Charles Baudelaire, born ‪#‎onthisday‬ in 1821ow.ly/L853l
    But as for me, my limbs are rent
    Because I clasped the clouds as mine.
    ---The Laments of an Icarus.
    1889.3.11 Journals by Gide 引用過. 通行版{惡之華}待查

    Online texts

    Single works



      2013.4.4  辜振豐老師送一本簽名的"全新中譯本"惡之華》(台北:花神文坊 2013) 

     漢清兄惠存:
             悅讀法蘭西詩歌


    我問些字體插圖等. 他希望我寫書評... (我說我不懂法文所以只能用英文和其他中文本"攻錯之: Baudelaire: Selected Poems 波特萊爾的《惡之華》/巴黎男女)

    去年或全年我說這本名著的漢譯可能近10本以上. 何苦再多一本"非學術"之作?
    不過  辜振豐老師的意志力強  他已展開波特萊爾的第2本之翻譯中. 而且他的作品都是"全方位設計"很令人佩服 並要祝賀/祝服他成功!
     *****

    Baudelaire: Selected Poems (法英對照)

    translated and introduced
    by Joanna Richarson, Penguine, 1975/'77/'78
    依1868《惡之華》版本及隨後在比利時出的禁詩序而編



    惡之華
    Les Fleurs du mal

    《惡之華》(法語:Les Fleurs du mal

    From Wikipedia, the free encyclopedia

    這版本顯然一直在改進. 本文是2011年版. 只有"一首"的翻譯比較中列出2種英文和三種中文.



    The first edition of Les Fleurs du mal with author's notes.
    Les Fleurs du mal (often translated The Flowers of Evil) is a volume of French poetry by Charles Baudelaire. First published in 1857 (see 1857 in poetry), it was important in the symbolist and modernist movements. The subject matter of these poems deals with themes relating to decadence and eroticism.


    [edit]Overview

    The initial publication of the book was arranged in six thematically segregated sections:
    • Spleen et Idéal (Spleen and Ideal)
    • Tableaux parisiens (Parisian Scenes)
    • Le Vin (Wine)
    • Fleurs du mal (Flowers of Evil)
    • Révolte (Revolt)
    • La Mort (Death)
    The foreword to the volume, identifying Satan with the pseudonymous alchemist Hermes Trismegistus and calling boredom the worst of miseries, neatly sets the general tone of what is to follow:

    Si le viol, le poison, le poignard, l'incendie,
    N'ont pas encore brodé de leurs plaisants dessins
    Le canevas banal de nos piteux destins,
    C'est que notre âme, hélas! n'est pas assez hardie.
    If rape and poison, dagger and burning,
    Have still not embroidered their pleasant designs
    On the banal canvas of our pitiable destinies,
    It's because our souls, alas, are not bold enough!



    In the poem "Au lecteur" ("To the Reader") that prefaces Les Fleurs du mal, Baudelaire accuses his readers of hypocrisy and of being as guilty of sins and lies as the poet:
    ...If rape or arson, poison or the knife
    Has wove no pleasing patterns in the stuff
    Of this drab canvas we accept as life—
    It is because we are not bold enough!
    (Roy Campbell's translation)




    The preface concludes with the following malediction:
    C'est l'Ennui! —l'œil chargé d'un pleur involontaire,
    Il rêve d'échafauds en fumant son houka.
    Tu le connais, lecteur, ce monstre délicat,
    —Hypocrite lecteur,—mon semblable,—mon frère!
    It's Ennui! — his eye brimming with spontaneous tear
    He dreams of the gallows in the haze of his hookah.
    You know him, reader, this delicate monster,
    Hypocritical reader, my likeness, my brother!
    "Ennui" is left untranslated here, as "boredom" does not accurately portray Baudelaire's intended meaning. "Ennui" means an oppressive boredom that induces listlessness.

    [edit]Literary significance and criticism

    The author and the publisher were prosecuted under the regime of the Second Empire as an outrage aux bonnes mœurs (trans. "an insult to public decency"). As a consequence of this prosecution, Baudelaire was fined 300 francs. Six poems from the work were suppressed and the ban on their publication was not lifted in France until 1949. These poems were "Lesbos", "Femmes damnés (À la pâle clarté)" (or "Women Doomed (In the pale glimmer...)"), "Le Léthé" (or "Lethe"), "À celle qui est trop gaie" (or "To Her Who Is Too Gay"), "Les Bijoux" (or "The Jewels"), and " Les "Métamorphoses du Vampire" (or "The Vampire's Metamorphoses"). These were later published in Brussels in a small volume entitled Les Épaves (Jetsam).
    On the other hand, upon reading "The Swan" or "Le Cygne" from Les Fleurs du mal, Victor Hugo announced that Baudelaire had created "un nouveau frisson" (a new shudder, a new thrill) in literature.
    In the wake of the prosecution a second edition was issued in 1861 which added 32 new poems, removed the six suppressed poems and added a new section entitled Tableaux Parisiens.
    A posthumous third edition with a preface by Théophile Gautier and including 14 previously unpublished poems was issued in 1868.

    [edit]Cultural references

    [edit]See also

    [edit]External links


    作者 :杜國清

    出版時間 : 2011年12月

    出版單位 : 國立臺灣大學出版中心

    裝訂 : 精裝



    本書介紹 波特萊爾的《惡之華》杜國清譯

    神魔的眼神﹕談波特萊爾與《惡之華》

    謝謝 妙 幾年前2008/2月阿擘請我和杜教授吃過晚餐
    台大出版中心的訂價策略很奇怪 這本名著的最新修正本才350元 參考英日和中國的翻譯
    2008年時杜國清先生對純文學出版社的《惡之華》的稿酬等
    耿耿於懷。
    現在有難得的機會補強並修正它,無寧是譯者和讀者之福氣

    詩人老了......《諾貝爾文學獎全集50:米沃什》杜國清譯
    ,台北:遠景出版社,
    1982(尚未翻閱)
    ***
    昨晚讀《哥德談話錄》智慧老人哥德向年輕的艾克曼說
    要珍惜每一刻每一分鐘 它們都是永恆的代表

    上周送陳忠信夫婦之詩的更新 或可溫故知新
    (又為陳巨擘昔日的晚餐而作)
    *****
    波特萊爾(Charles Pierre Baudelaire)《惡之華‧貓》杜國清譯。台北:
    台灣大學出版中心,2011, 頁88。無因讓那‧杜瓦爾而作字樣。
    34
    來,美麗的貓,來到我愛的心上,
    把你腳上銳利的爪隱藏,
    讓我沉浸在你美麗的眼眸中
    映出金屬與瑪瑙的亮光
    當我的手指,從容不迫地愛撫,
    你的頭和那彈性的背脊,
    當我的手陶然感到興奮的滿足,
    一觸及你帶電的嬌軀,
    我就幻見我的女人,她的眼神,
    和你一樣,可愛的動物,
    深邃冷轍,有如鏢槍尖銳刺人;
    從她的腳尖到她的頭部,
    一種微妙的氣色,危險的暗香,
    在她褐色身旁漂浮蕩漾。
    *****另一中國某書中的翻譯(這是上周從一本法國文人憶波特
    萊爾的新書中抄下的。現在暫時找不到它。)
    《貓‧因讓那‧杜瓦爾而作》波特萊爾
     

    《惡之華》--法國象徵主義詩人波特萊爾的不朽傑作,
    對20世紀現代詩最具影響力的世界名著

    日本小說家芥川龍之介曾為之傾倒自嘆:「
    人生不如波特萊爾的一行詩」。

    法國大文豪雨果給波特萊爾的《惡之花》的贊語:「
    你向藝術的天空,擲去了一道攝人的光芒,創造了新的顫慄。」

    這本新版《惡之華》,名符其實是波特萊爾一生詩作的全譯本,
    包括第二版原著、《漂流詩篇》、六首禁詩、以及作者死後的增訂和補遺,總共一百六十三首。僅以一本詩集,波特萊爾創造出新的戰慄,給與藝術的天空一種異色的光芒,而在世界的詩壇上,立於「光榮的絕頂」。在他的榮光下,得過許多翻譯獎且兼具詩人學者身分的杜國清獻上這本一生致力精心翻譯的世界名著。

    這個新版,除了波特萊爾一生詩創作的全譯之外,
    附錄有譯者的四篇文章﹕「波特萊爾與《惡之華》」簡介、「致波特萊爾」詩、「波特萊爾與我」散文、闡述象徵主義詩觀的「萬物照應.東西交輝」論文,以及「波特萊爾年譜」,全面深入詩人詩作的靈魂深處。配有波特萊爾相關歷史圖片;全書新製插畫,試圖捕捉詩作中哀愁靈魂的憧憬與憂鬱,幫助讀者更貼近詩人與詩作。

    杜教授以對波特萊爾與《惡之華》的了解,談論詩人心中的「惡」
    與「花」,以及他一生追尋的「詩」與「美」的特質,正如譯者杜國清教授所了解、在「致波特萊爾」一詩中所透露:

    你的倦怠 來自愛與美的追尋
    你愛的美 那明媚的眼眸
    神魔合一 同時具有
    致命的魅力與無限暴虐
    使你在狂喜的瞬間 欲求毀滅
    你愛的美 不管來自天上或地獄
    不論來自上帝或惡魔
    純粹的愛 無畏 無悔
    只要能使你 一時迷醉
    脫離 這個醜惡的世界

    《惡之華》是詩人的精神在善惡衝突中迸出的火花,
    也是受苦的靈魂綻放出的病弱花朵,散發著不吉的冷香,更是背叛神的逆子,在「失樂園」裡徬徨、悔恨的心路歷程和良心掙扎的紀錄。

    杜國清

    國立臺灣大學外文系畢業,日本關西學院大學日本文學碩士,


    美國史丹福大學中國文學博士。
    現任加州大學聖塔芭芭拉東亞語言文化研究系、賴和吳濁流臺灣研究講座教授,臺灣研究中心主任。杜教授專攻中國文學,中西詩論和臺灣文學,於一九九六年創刊《臺灣文學英譯叢刊》(Taiwan Literature: English Translation Series), 一年出版兩集,致力於臺灣文學的英文翻譯,促進國際間對臺灣文學的了解、以及從國際視野對臺灣文學的研究。杜國清也是著名詩人,曾任《現代文學》編輯,為1963年臺灣《笠》詩刊創辦人之一。著有詩集《蛙鳴集》、《島與湖》、《雪崩》、《望月》、《心雲集》、《殉美的憂魂》、《情劫集》、《勿忘草》、《對我 你是危險的存在》、《愛染五夢》、《 愛的祕圖》、《山河掠影》、《玉煙集》、《詩論.詩評.詩論詩》等。翻譯有艾略特《荒原》、《艾略特文學評論選集》、波特萊爾《惡之華》、劉若愚《中國詩學》、《中國文學理論》等。 曾獲中興文藝獎、詩笠社翻譯獎、1993年漢城亞洲詩人大會頒與功勞獎,1994年獲文建會翻譯成就獎。


    【譯者序】波特萊爾與《惡之華》/ 杜國清
    致波特萊爾 / 杜國清
    作者獻詞
    致讀者 Au Lecteur/波特萊爾
    惡之華Les Fleurs du Mal
    憂鬱與理想 SPLEEN ET IDeAL1祝禱 Benediction
    2信天翁 L’ Albatros
    3高翔 Elevation
    4萬物照應 Correspondances
    5〈我喜愛對那些裸體時代……〉Jaime le souvenir de ces epopues nues
    6燈塔 Les Phares
    7生病的繆斯 La Muse Malade
    8賣身的繆斯 La Muse Venale
    9惡僧 Le Mauvais Moine
    10仇敵 L’Ennemi
    11倒運 Le Guignon
    12前生 La Vie Anterieure
    13踏上旅途的波希米人 Bohemiens en Voyage
    14人與海 L’Homme et la Mer
    15地獄的唐璜 Don Juan aux Enfers
    16傲慢的懲罰 Chatiment de l’Orgueil
    17美 La Beaute
    18理想 L’Ideal
    19女巨人 La Geante
    20假面 Le Masque
    21美的讚歌 Hymne a la Beaute
    22異國的芳香 Parfum Exotique
    23髮 La Chevelure
    24〈我愛慕你……〉 Je t’adore a l’cgal de la voute nocturne
    25〈你想將整個宇宙……〉Tu mettrais l’univers entier dans ta ruelle
    26然而還不滿足 Sed non Satiata
    27〈穿著波狀的……〉Avec ses veements ondoyants et nacres
    28舞動的蛇 Le Serpent qui Danse
    29腐屍 Une Charogne
    30來自深淵的叫喊 De Profundis Clamavi
    31吸血鬼 Le Vampire
    32〈一夜我睡在……〉Une nuit que j’etais pres d’une affreuse Juive
    33死後的悔恨 Remords Posthume
    34貓 Le Chat
    35決鬥 Duellum
    36陽臺 Le Balcon
    37著魔的男人 Le Possede
    38幽靈 Un Fantome
    Ⅰ黑闇 Les Tenebres
    Ⅱ薰香 Le Parfum
    Ⅲ畫框 Le Cadre
    Ⅳ肖像 Le Portrait
    39〈給你這些詩……〉Je te donne ces vers afin que si mon nom
    40永遠一樣 Semper Eadem
    41她的一切 Tout Entiere
    42〈今晚你說什麼……〉Que diras-tu ce soir, pauvre ame solitaire
    43活火炬 Le Flambeau Vivant
    44恩賜 Reversibilite
    45告白 Confession
    46心靈的黎明 L’Aube Spirituelle
    47黃昏的諧調 Harmonie du Soir
    48香水瓶 Le Flacon
    49毒 Le Poison
    50陰空 Ciel Brouille
    51貓 Le Chat
    52優美的船 Le Beau Navire
    53旅邀L’Invitation au Voyage
    54不能挽救者L’Irreparable
    55交談 Causerie
    56秋之歌 Chant d’Automne
    57給一位聖母 A une Madone
    58午後之歌 Chanson d’Apres-Midi
    59西西娜 Sisina
    60給我佛蘭琪絲嘉的讚歌 Franciscae me Laudes
    61給生長在殖民地的一位夫人 A une Dame Creole
    62憂愁與流浪Moesta et Errabunda
    63幽靈 Le Revenant
    64秋的小曲 Sonnet d’Automne
    65月的悲哀 Tristesses de la Lune
    66貓 Les Chats
    67貓頭鷹 Les Hiboux
    68煙斗 La Pipe
    69音樂 La Musique
    70墓 Sepulture
    71一幅幻想的版畫 Une Gravure Fantastique
    72快活的死者 Le Mort Joyeux
    73憎恨的無底桶 Le Tonneau de la Haine
    74破鐘 La Cloche Felee
    75憂鬱 Spleen
    76憂鬱 Spleen
    77憂鬱 Spleen
    78憂鬱 Spleen
    79著魔 Obsession
    80虛無的滋味 Le Gout du Neant
    81苦惱的鍊金術 Alchimie de la Douleur
    82恐怖的感應 Horreur Sympathique
    83自我懲罰者 L’Heautontimoroumenos
    84無可贖救者 L’Irremediable
    85時鐘 L’Horloge
    巴黎寫景 TABLEAUX PARISIENS86風景 Paysage
    87太陽 Le Soleil
    88給一個紅髮的乞丐女郎 A une Mendiante Rousse
    89天鵝 Le Cygne
    90 七個老頭兒 Les Sept Vieillards
    91小老太婆 Les Petites Vieilles這兩首是獻給雨果的雨果回信說令人......
    92盲人 Les Aveugles
    93給路上錯過的一個女人 A une Passante
    94骸耕圖 Le Squelette Laboureur
    95夕暮 Le Crepuscule du Soir
    96賭博 Le Jeu
    97死的舞蹈 Danse Macabre
    98虛假的戀 L’Amour du Mensonge
    99〈我仍忘不了……〉Je n’ai pas oublie, voisine de la ville
    100〈你曾嫉妒的……〉La servante au grand coeur dont vous etiez jalouse
    101霧和雨 Brumes et Pluies
    102巴黎之夢 Reve Parisien
    103黎明 Le Crepuscule du Matin
    酒 LE VIN104酒魂L’Ame du Vin
    105拾荒者的酒 Le Vin des Chiffonniers
    106殺人犯的酒 Le Vin de l’Assassin
    107孤獨者的酒 Le Vin du Solitaire
    108熱戀者的酒 Le Vin des Amants
    惡之華 FLEURS DU MAL109毀滅 La Destruction
    110一個受難的女人 Une Martyre
    111 該入地獄的女人 Femmes Damnees
    112一對好姊妹 Les Deux BonnesSoeurs
    113血泉 La Fontaine de Sang
    114寓意 Allegorie
    115貝雅翠斯 La Beatrice
    116西堤爾之旅 Un Voyage a Cythere
    117愛神與腦殼 L’Amour et le Crane
    叛逆 ReVOLTE118聖.彼得的否認 Le Reniement de Saint Pierre
    119亞伯與該隱Abel et Cain
    120 向惡魔的連禱 Les Litanies de Satan
    死 LA MORT121熱戀者之死 La Mort des Amants
    122窮人之死 La Mort des Pauvres
    123藝術家之死 La Mort des Artistes
    124一日之終 La Fin de la Journee
    125好奇者的夢 Le Reve d’ un Curieux
    126 旅航 Le Voyage
    漂流詩篇(LES ePAVES)(1866)1浪漫派的落日 Le Coucher du Soleil Romantique
    《惡之華》被禁詩篇 PIeCES CONDAMNeES
    2麗斯波斯島 Lesbos
    3墮入地獄的女人 (黛菲尼與伊波麗特) Femmes Damnees
    Delphine et Hipolyte
    4忘川Le Lethe
    5給一位太快活的女人 A Celle Qui Est Trop Gaie
    6首飾 Les Bijoux
    7吸血鬼的化身Les Metamorphoses du Vampire
    豔歌 (GALANTERIES)8 噴泉 Le Jet D’eau
    9 貝爾特的眼睛 Les Yeux de Berthe
    10 讚歌 Hymne
    11容貌的期許 Les Promesses d’un Visage
    12怪物(別題「恐怖趣味的林澤仙女的讚辭」) Le Monstre
    Ou Le Paranymphe d’une Nymphe Macabre
    13 給我佛蘭琪絲嘉的讚歌 Franciscae me Laudes
    題詠 (ePIGRAPHES)14奧諾雷.杜米埃肖像題詩 Vers Pour Le Portrait de M. HonoreDaumier
    15瓦倫西的羅拉 Lola De Valence
    16題「牢中的塔索」(德拉珂羅瓦所畫) Sur <> d’Eugene Delacroix
    雜篇(PIeCES DIVERSES)17聲音 La Voix
    18意想不到者L’Imprevu
    19贖金La Rancon
    20給一位馬拉巴姑娘A Une Malabaraise
    戲作 (BOUFFONNERIES)21 阿米娜.波雪蒂初上舞台(於布魯塞爾莫奈劇院)
    Sur Les Debuts d’Amina Boschetti
    22 致歐金.福洛曼丹氏(關於某個令人討厭者自稱是他的朋友)
    A M. Eugene Fromentin / A Propos d’un Importun / Qui Se Disait Son Ami
    23戲謔的小酒店(從布魯塞爾到約庫耳途中所見)
    Un Cabaret Folatre / Sur La Route de Bruxelles a Uccle
    《惡之華》第三版增訂稿(1866-1868) PIeCES AJOUTeES1一本禁書的題詞 epigraphe Pour un Livre condamne
    2致邦維爾(一八四二年作) A Theodore de Banville—1842—
    3和平的菸斗(仿朗費羅) Le Calumet de Paix
    Imite de Longfellow
    4異教徒的祈禱La Priere d’un Paien
    5蓋子 Le Couvercle
    6午夜的反省 L’Examen de Minuit
    7悲情的戀歌 Madrigal Triste
    8警告者 L’Avertisseur
    9叛逆者 Le Rebelle
    10離此遙遠Bien Loin d’Ici
    11深淵 Le Gouffre
    12伊卡洛斯的悲嘆 Les Plaintes d’un Icare
    13靜思 Recueillement
    14被冒犯的月亮La Lune Offensee
    波特萊爾年譜
    萬物照應.東西交輝 / 杜國清
    波特萊爾與我/ 杜國清
    《惡之華》初版譯者後記 (1977)
    《惡之華》新版譯者後記(2011)

    譯者序 波特萊爾與《惡之華》
      《惡之華》中差不多有一半是與女人有關的情詩。波特萊爾詩中 的女人一共有四個;她們在不同的時期使詩人留下優美與痛苦的詩篇。第一個是「斜眼的莎拉」 (Sarah la Louchette) ,巴黎拉丁區的猶太妓女。詩人因她寫了三首詩:即第二十五首〈你想將整個宇宙都帶進閨房〉,第三十二首〈一夜我睡在醜惡的猶太女身邊〉,另一首沒收在《惡 之華》中。詩人與莎拉的交往是在十九歲到二十一歲之間的三年,其中一年詩人離開巴黎前往南洋。兩人的關係並不深切,但是這種早期的戀愛體驗,對於日後詩人 的戀愛觀以及對女人的看法具有莫大的影響。
      詩人的第二個女人是珍妮.杜娃 (Jeanne Duval) 。詩人認識她時二十一歲,而前後來往共二十年(一八四二—六一),其中經過了多少次的分離與重歡。珍妮.杜娃(或露美Lemer)是個黑白混血的女伶,個 子高大,肉體豐滿,具有豐厚的黑髮,銅色的皮膚、大大的眼睛、稍厚的嘴唇。她脾氣彆扭、生性冷酷。她與詩人有著短暫的幸福生活,可是也帶來爾後多年的不 幸。詩人對她盡情盡義,幾次向監護人和他母親要求讓珍妮繼承他的財產,可是她幾乎從一開始就對他不忠實,騙他、搶他,故意傷他。即使如此,詩人從來沒有失 去對她的責任感;每次分離,仍在經濟上盡力照顧她的需要。她是詩人一生的十字架。詩人對她的熱情,時而優柔,時而幾乎是憎恨。他們兩人像是一對歡喜冤家, 具有拆不散的孽緣。詩人因她而寫的詩,亦即所謂珍妮.杜娃詩篇 (The Jeanne Duval Cycle) ,根據史加福 (Francis Scarfe) 教授的判斷,有第二十二首〈異國的芳香〉、二十三首〈髮〉、二十四首〈我愛慕你……〉、二十六首〈然而還不滿足〉、二十八首〈舞動的蛇〉、二十九首〈腐 屍〉、三十首〈來自深淵的叫喊〉、三十四首〈貓〉、三十五首〈決鬥〉、三十六首〈陽臺〉、三十七首〈著魔的男人〉、三十八首〈幽靈〉、五十八首〈午後之 歌〉、一一五首〈貝雅翠斯〉等。
      詩人的第三個女人是瑪利.朵白蘭 (Marie Daubrun) 。詩人跟她的來往是在二十六歲到三十八歲之間。她是個女伶和模特兒;金髮美人,綠眼珠,鼻子稍為朝上,嘴唇像玫瑰花蕾。詩人曾在他的朋友德瑞 (Deroy) 的畫室中貪婪地注視她的裸體。一八四七年,她在聖馬丁劇院主演〈金髮美女〉,頗為成功。詩人在寫給她的信中說:「由於你,瑪利,我將堅強偉大。像佩脫拉克 (Petrarch) ,我將使我的羅拉 (Laura) 不朽。請當我的守護天使,我的繆斯,我的聖母,引導我走著「美」的道路。」最初,詩人的追求遭到拒絕,因她當時對他的朋友班維爾 (Banville) 更有興趣。因此,詩人對她反而寄以柏拉圖式的愛情,直到一八五四年詩人對她的熱情復燃。可是在詩人為她的戲劇前途奔走失敗以後,她就離開詩人再投到班維爾 的懷抱。這種三角關係使詩人感到莫大痛苦和嫉妒。根據史加福教授的判斷,所謂瑪利.朵白蘭詩篇 ( The Marie Daubrun Cycle) ,包括第四十九首到五十六首的〈毒〉、〈陰空〉、〈貓〉、〈優美的船〉、〈旅邀〉、〈不能挽回者〉、〈談話〉、〈秋之歌〉,以及第六十四首〈秋的小曲〉與 第九十八首〈虛假的戀〉等。
      詩人的第四個女人是莎巴伽夫人 ( Madame Sabatier) 。詩人跟她的交往是在三十一歲到四十歲之間。她是一個銀行家的情婦;她家的沙龍在經濟上是由銀行家支持的。她是個白膚金髮碧眼的美人,五官端莊,嘴上常帶 著微笑。她較有教養,富於機智,但是道德觀念頗無原則。她不避與崇拜者逢場做戲。詩人愛她,把她當做精神戀愛的對象。從一八五二年起,詩人不斷以匿名寫信 給她,同時附上情詩。她是詩人理想的結晶、靈感的泉源、崇拜的繆斯。詩人寫給她的匿名信和情詩,繼續了五年,直到一八五七年八月三十日,莎巴伽夫人以身相 許。可是那晚的幽會,對詩人而言,不是狂喜而是幻滅。在第二天寫給莎巴伽夫人的信中,詩人說:「幾天前你是女神,如今你是女人。」詩人對她的精神戀愛,於 焉告終。《惡之華》中所謂莎巴伽詩篇 ( The Sabatier Cycle ) ,包括從第四十首到第四十八首的〈永遠一樣〉、〈她的一切〉、〈今晚你說什麼……〉、〈活火炬〉、〈恩賜〉、〈告白〉、〈心靈的黎明〉、〈夕暮的諧調〉、 〈香水瓶〉,以及第六十二首〈憂愁與放浪〉等。
      除了女人,波特萊爾的一生中,曾有一時對政治社會現狀頗為關心和參與。一八四八年二月革 命時,他站在群眾的一邊。在一八四八到一八五一年(二十七歲到三十歲)的革命時期,他的行動相當複雜與狂熱,但大體上是由於感情的衝動與一時的憤慨。不久 也就對社會主義幻滅,接著是對政治的冷感。雖然革命時期的影響,並不直接表現在詩中,波特萊爾在一八五○年和一八五一年預告他的詩集即將出版,當時的書名 卻擬為《冥府》(Les Limbes) 。《冥府》雖是個帶有濃厚神學色彩的用語,當時的社會主義者用以形容社會的一個狀態,含有時代與政治的意義。波特萊爾的詩,雖然沒有政治性的革命氣息,但 是有些作品含有現實主義的寫實精神卻是無可否認的。例如,屬於〈冥府詩篇〉中的〈殺人犯的酒〉(第一○六首)、〈拾荒者的酒〉(第一○五首)、〈窮人之 死〉(第一二二首),以及〈巴黎寫景〉中的〈七個老頭兒〉(第九十首)、〈小老太婆〉(第九十一首)、〈夕暮〉(第九十五首)、〈賭博〉(第九十六首)等 等。



    松下政経塾眾知之園 The Garden of Public Wisdom...Matsushita Leadership :Lessons from the 20th century’s most remarkable entrepreneur廢墟中站起的巨人:一位哈佛學者眼中的松下幸之助

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    眾知之園 The Garden of Public Wisdom

    松下政經塾 


    Amazon.com: Matsushita Leadership (9780684834603): John P. Kotter ...

    From Library Journal

    Noted Harvard business professor Kotter recounts the fascinating life of Konosuke Matsushita (1894-1989), the founder of Matsushita Electric Company. Matsushita started his adult life with no money, no connections, fewer than four years of formal education, and a family history filled with trauma. Yet his company's growth in revenues has exceeded that of the companies of such famous entrepreneurs as Soichiro Honda (Honda), Sam Walton (Wal-Mart), Akio Morita (Sony), James Cash Penney (J.C. Penney), and Henry Ford (Ford). Not a biography, this chronological bibliograhy instead highlights the educational patterns of Matsushita's life and draws out lessons from which readers in management can learn. Kotter clearly illustrates how Matsushita was able to motivate large groups of individuals. Recommended for corporate executives, businesspeople, academics, students, and aspiring entrepreneurs.?Joseph W. Leonard, Miami Univ., Oxford, Ohio Copyright 1997 Reed Business Information, Inc.

    From Booklist

    Two years before his death in 1989, Konosuke Matsushita was identified as one of the richest men in the world. When he died, the Japanese press bemoaned the loss of the "god of management." Matsushita built the business bearing his name into the world's largest consumer electronics company, turning out such familiar brands as Panasonic, Technics, and Quasar. He is also credited with establishing the Japanese system of paternal management, which offers lifetime employment. Rowland Gould and Michael Lombardi of the Success Motivation Institute of Japan produced the laudatory corporate history The Matsushita Phenomenon in 1970, but little English-language biographical material on Matsushita himself is available. Now Kotter, who happens to be the Konosuke Matsushita Professor of Leadership at the Harvard Business School and the noted author of The New Rules (1994) and numerous other books on leadership and management, has written a thoroughly researched and illuminating portrait that shows its subject as not only a successful businessman but also a visionary humanitarian. David Rouse

    Product Details

    • Hardcover: 320 pages
    • Publisher: Free Press; 1St Edition edition (May 16, 1997)
    • Language: English
    廢墟中站起的巨人:一位哈佛學者眼中的松下幸之助 : Matsushita Leadership :Lessons from the 20th century’s most remarkable entrepreneur 作者:柯特/著原文作者:John P. Kotter譯者:林麗冠出版社:天下文化   在哈佛大學商學院教授科特的眼中,松下幸之助不只是一個成功的紅頂商人,而是一個堅強的靈魂。從小學徒、電燈工人、白手創業、到最後的慈善家、教育家兼哲 學家的漫漫長路,他的一生可謂從絕望的谷底攀升到夢想的高峰。松下將自己的成功歸諸於「運氣」,但究其一生,從苦難中淬煉出的毅力、人格、氣度與視野,才 是一次次走出困境,開創新局的主因。科特以一個西方學者的角度,深刻詮釋出松下不平凡的一生。

    詳細資料

    • 叢書系列:財經企管
    • 規格:平裝 / 320頁 / 25K / 普級 / 單色印刷 / 初版
    • 出版地:台灣

    目錄

    • 前言 當哈佛遇到松下
    • 第一章 遺澤
    • 第二章 家道中落的童年
    • 第三章 腳踏車店小學徒
    • 第四章 大阪電燈工人
    • 第五章 白手創業
    • 第六章 初嘗成功滋味
    • 第七章 走過經濟危機
    • 第八章 公司的使命
    • 第九章 成立事業部
    • 第十章 第二次世界大戰
    • 第十一章 從廢墟中站起
    • 第十二章 躍上國際舞台
    • 第十三章 絕不容許驕傲
    • 第十四章 PHP研究所-人性的研究
    • 第十五章 書籍與慈善事業
    • 第十六章 松下政經塾-領導力的教育
    • 後記  謙沖為懷與心胸寬大
    --- 科特论松下领导艺术- Google 图书
    1. - [ 轉為繁體網頁 ]
      books.google.com/books?id=P8hzjnVAngQC&printsec...hl=zh...

    科特论松下领导艺术

    作者: 约翰・P・科特 译者: 林立冠 出版社: 中信出版社 出版年: 2003-0   

    作者简介 · · · · · ·

      约翰・P・科特是世界著名领导学大师,哈佛商学院“松下幸之助”领导学讲席教授。他毕业于麻省

    許世旭(1934-2010)編譯《韓國詩選:可思莫思花》1978再版。楚戈 Chu Ko: A Soldier from Chu (袁德星(1931年-2011年))《火鳥再生記》《楚戈作品集》《龍史》

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    許世旭(1934-2010)編譯《韓國詩選:可思莫思花》1978再版。
    "余光均 南韓"網路上找不到,可能不用漢字了.....




    楚戈(袁德星)《視覺生活》(台北:台灣商務 1968/1984 三版 最可惜的是本書完全是文字.......)  
    在"後記"中提到 許世旭(1934-2010) :"......評介部分 是台灣這一段時期藝壇的重要紀錄 對未來它是具有史料價值的 
     無論如何要把寫作或發表的日期註明.....(pp.303-04) 
    全贊成 
    譬如說 美國馬莎 葛蘭姆的現代舞在1968年引進.... 






    https://hcpeople.blogspot.com/2011/03/blog-post_3686.html



    HCPEOPLE.BLOGSPOT.COM
    楚戈 Chu Ko: A Soldier from Chu (袁德星(1931年-2011年))《火鳥再生記》《楚戈作品集》《龍史》
    袁德星 (1931年-2011年3月1日), 筆名 楚戈 , 湖南省 湘

    《佛說梵摩渝經》(吳月支優婆塞) 支謙譯

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    蔣勳


    佛前一株梔子花今日盛開15朵,一室馨香。
    讀吳國支謙譯的《佛說梵摩渝經》。
    大約一千五百年前,敦煌洞窟一位僧侶小字抄寫。原件20世紀初被帶到巴黎,收藏在吉美博物館。上世紀七零年代,日本二玄社影印出版。
    讀到「一身分十身,十身分百身,百身分千身,千身分萬身,萬身分無數身,無數身復還一身。」
    梔子花亦如是,香遍三千大千。




    沒找到".....千身分萬身....."

    《梵摩渝經》CBETA 電子版 版本記錄: 1.1 完成日期: 2002/11/04 發行單位: 中華電子佛典協會 (CBETA) cbeta@ccbs.ntu.edu.tw

     資料底本: 大正新脩大正藏經 Vol. 1, No. 076 No. 76 [No. 26(161)] 梵摩渝經 吳月支優婆塞支謙譯   



    聞如是。一時佛在隨提國。與五百沙門俱行。時有逝心。名梵摩渝。彌夷國人也 。年在耆艾百有二十。博通眾經星宿圖書。豫覩未萠一國師焉。梵摩渝遙聞佛王者之子出自釋姓。去國尊榮行作沙門。得道號佛清淨至尊。與五百沙門處隨提國。開化眾 生。

    梵摩渝深惟歎曰。沙門瞿曇。神聖巍巍。為如來應儀正真覺道神通以足丈夫尊雄 法御眾聖天人之師。

    心垢已除諸惡已盡從自覺得無所不知。沙門逝心。釋梵龍鬼。為 其說法上中下語清淨為首。玄妙卓遠眾聖所不聞也。

    梵摩渝。為門徒廣陳之。期為無 上正真覺眾聖之王。吾等應為稽首稟化之矣。逝心弟子有亞聖者。厥名摩納。亦博經 典明齊于師。具覩秘讖知當有。佛身相奇特三十有二。至尊難雙貫心照焉。師告摩納 。吾聞瞿曇神聖無上。諸天共宗獨言隻步眾聖中雄。爾往覩焉。宗尊儀表真正弘摸。 誠如群儒之所歎不乎。假其爾者。吾當馳就稽首奉禮。

    摩納質曰。吾當以何觀察。摩 納師曰。經不云乎。來世有王厥名白淨。后名清妙。明德純備。其生聖子有天中天。 獨尊之表軀體丈六。相有三十二。處國當為飛行皇帝。捨國為道行作沙門者。必得為 佛。摩納受教稽首師足。至隨提國即詣佛所。揖讓畢退就坐靜心。熟視佛身相好不覩 兩相。一廣長舌。二陰馬藏。其意有疑。佛知摩納心有疑望。即以神足現陰馬藏。出 廣長舌以自覆面。左右舐耳縮舌入口。五色光出繞身三匝滅於頂上。摩納心動喜怖交 集。欣然歎曰。

    沙門瞿曇真是佛也。相好光明靡不備焉。觀世希有真可謂如來應供正 覺。吾當翼從觀尊楷式。以化愚惑并啟吾師。即尋世尊處內禪定。周旋教化拯濟眾生 。或宿或歸輙與僧俱未曾隻獨。六月之日猶影追身。具覩神化巍巍之德。稽首佛足辭 還本土。到詣師所稽首如舊。就座而坐。

    師曰。吾使爾行觀察瞿曇天尊之資。相好神 化。審如群儒稱揚之不虛乎。若其然者。吾當馳詣稽首足下。接足戴土之恭。對曰。 其有相好神德踰天巍巍難稱。釋梵所不能測度。群聖莫能籌算。眾賢所歎。億載之分 未獲其一。非吾螢燭所能盡陳。略說其要。

    絕世之相三十有二。一相足下安平正。二 相手足有輪。輪有千輻。三相鈎鎖骨。四相長指。五相足跟滿。六相手足細軟。掌內 外握。七相手足合中縵。八相鹿腸。九相陰馬藏。十相身色紫金光輝弈弈。十一相 身猶金剛。瑕穢寂靜。十二相肌皮細軟。塵水不著身。十三相一一孔一毛生。十四相 毛紺青色。右轉盤屈。十五相方身。十六相如師子上身。十七相不曲身如梵身。十八 相肩滿具肉連著身。十九相平住兩手摩膝。二十相頰車如師子。二十一相四十齒。二 P. 2 十二相為方齒。二十三相齒間平。二十四相齒白無喻。二十五相廣長舌。二十六相味 味次第味。二十七相聲如梵聲。二十八相七合滿起。二十九相眼中白紺青色。三十相 眼睫上下眴如牛王。三十一相白毛眉中跱。三十二相頂有肉髻。光明韑韑遏日絕月。 沙門瞿曇具有高雅。


    三十二相無一缺減。神妙之德景則無量。可奇可貴自古希有。吾 覩瞿曇跬步發足。輙先舉右足步。長短遲疾合儀。行時踝膝不相切摩。平身而進肩不 動搖。若欲還顧略不以力。平住斯須。忽然後向不迴身也。不低不仰頭身正平。平視 而進未嘗顧眄。躇步之儀其為若斯矣。瞿曇行路。天施寶蓋華下如雪。天龍飛鳥無敢 歷上。三界眾生無見頂者。諸天作樂導從奉尊。龍神地祇平治途路高下如砥。足不蹈 地輪相印現。光明輝輝煌煌七日乃滅。樹木低仰若人跪拜之禮。若行應請。戶楣高下 平身而入。楣不高舉瞿曇不伏。坐正中床不侵前後。叉手而坐未嘗指擬。不以拄頰。 下床不回忽然在地。天魔含毒而來。心不恐懼光顏更釋。慈心愍之毒無不消。以鉢受 水鉢不傾昂水不多少。澡鉢之時水鉢俱寂不有微聲。未嘗以鉢下著于地。於中澡手手 鉢俱淨。去鉢中水高下近遠。適得其所也。以鉢受飯飯不污鉢。摶飯入口嚼飯之時三 轉即止。飯粒皆碎無在齒間者。若干種味味味皆知。足以支形不以為樂。瞿曇受食。


     以八因緣。不以遊戲。無邪行心。無欲在志。無巧偽行。遠三界塵。令志道寂衣福得 度斷故痛痒塞十二海。滅宿罪得道力。守空寂不想空。澡鉢如前。法衣應器意無憎愛 。為布施家呪願說經訖還精舍。不向弟子說食好惡。食自消化無大小便利之穢也。入 戶靜默深惟諸定。須臾即出未嘗失時。晝夜不眠亦無睡欠。廣陳明法勸進弟子令入道 堂。不以財色穢道之行示諸弟子。尊說高遠。非仙聖眾書所可聞見也。興起同處清淨 為道。經行之時不顧眄視。頗 姿則拂衣披纚。法服在身高下急緩於身雅好。入園洗 足亦不摩抆而足自淨。身色煌煌喻于天金。意不著愛志如虛空。其坐禪定 然無想。 三毒四痛五陰六入七結八瞢。瞢以無上之明消滅之焉。以空不願無想之定斷九神處。 以十善消十惡。作十二部經。掘十二因緣根。六十二見諸弊惱瘡。穢濁之念心寂然哉 。以四等大乘自度尊身又濟眾生。欲說景模。弟子未問而先自笑。口中出光明嬈身三 匝以漸自滅   



    阿難整服稽首而問。即大說法聲有八種。最好聲易了聲濡軟聲和調聲尊慧聲不誤 聲深妙聲不女聲。言不漏闕無得其短者。每大說經。二十四天梵釋四王日月星宿。其 中諸神帝王臣民。地祇海龍皆來稽首各自聽經。經聲入耳心各解了。如其種語也。佛之明慧猶崑崙河。千川萬流皆仰之焉。川流溢滿而河無指渧之減。佛之為明有踰之矣 。眾生受智各得滿足。佛明不虧絲髮之間。說經訖竟。諸開士尊。諸天帝王。臣民龍 鬼靡不欣懌。稽首而退。奉戴執行者也。入裏靖默。未嘗以無上天尊之德。輕慢弟子 逮乎眾生。吾尋瞿曇。六月之間猶影追身。具視起居經行入室。澡漱飯飲呪願說經。 勸勉弟子禪定之時。摩納曰。瞿曇景式容儀若茲。余之所陳猶以一渧添于巨海。非眾 聖心想擬可知。非諸天所能逮畢天地之所能論。巍巍乎其無上。洋洋乎其無崖。非測 非度。難可具陳矣 P. 3   

    梵摩渝。從弟子聞天師之德愕然流淚曰。吾年西垂。殆至徒生徒死。不覩天師之 上明矣。摩渝喜曰。吾以遇哉。覩佛而死厥榮難云。愚夫雖有天地之壽。何異乎土石 之類哉。即興正服五體投地。三頓首曰。歸佛歸法歸命聖眾。願吾殘命有餘。得在覲 見稽首稟化。佛以六通之明。覩彼自歸佛遙受之。自隨提國到彌夷國坐一樹下。國王 臣民逝心理家。展轉相命曰。沙門瞿曇。出自釋家帝王之子。宜在奢麗。而今清素志 性淡泊。無貪婬之垢恚怒之毒愚癡之冥。處眾聖之上。猶星中有月。神德廣被諸天所 宗。為如來應儀正真覺。穢冥已盡慧明獨存。神聖富足未有。乾巛其中眾。諸現在十 方微著委曲。當來未萌無事不明。吐章施教言皆真誠也。國王群臣逝心高士。僉然而 曰。

    我生時哉得覩天師。可尊可戴應為稽首。沐浴神化因共會聚車馬步者。家無遺人 到有稽首佛足者。跪者揖讓者自名字者皆默而坐。梵摩渝。聞佛與聖眾俱到。甚喜無 量率其門徒俱詣佛所。適至林際意悟念曰。當先遣人表心致虔。直自進者為不恪乎。 呼弟子曰。爾持吾名。稽首佛足下云。梵摩渝逝心年百二十。飢渴聖摸樂仰。清風欣 懌。瞿曇起居常安淡泊無欲今詣請見。弟子禮師。即至佛所稽首畢具陳師請。向佛歎 其師曰。國師梵摩渝。博通眾經貫綜祕讖。靖居齋房。豫知天文圖書吉凶。靡不逆照 豫明。斯世當有天師。巨容丈六天姿紫金。相有三十二。好有八十章。天中之天眾聖 中王。今故馳詣歸命三尊。近在林樹之外未敢自進。願欲覲見恭稟神化。世尊即曰。 善哉進矣。弟子返命。以佛明教具啟師意。師即稽首于地欣懌而進。國內逝心長者理 家。遙見其師征營竦慄拱手垂首。梵摩渝曰。復爾常坐。吾今自坐瞿曇世尊法御之側 也。即五體投地稽首佛足。恭肅而坐。靖默清心熟視佛相。即見佛三十妙相。兩相不 現曹瞢有疑。

    稽首于地以偈問曰  

    吾梵志經典  秘讖記世要   濁世王名淨  后名曰清妙   太子名悉達  容色紫金輝   身有天尊相  忍穢以法御   無上正真相  三十二具不   貞潔陰馬藏  無欲可別不   豈有廣長舌  覆面舐耳不   陳法踰眾聖  梵釋希聞不   明導天人師  能殄眾疑不   懷道處世康  來世獲仙不   仙度處泥洹  永離三界不   心意識魂靈  能滅眾苦不    梵志陳其心所疑。佛具知梵志心疑兩相。即以神足現陰馬藏也。出廣長舌還自覆 面。舐左右耳。口中光明照彌夷國。繞身三匝徐還入口。即報之曰。爾之所問。大士 三十二相。吾相具足無減一焉。吾自無數劫來。行四等心布施持戒忍辱精進禪定智慧 P. 4 。拯濟眾生猶自護身。斷求念空守無想定心垢除盡無復微曀。習斯行來諸殃悉滅。萬 善積著遂成佛身。相好光明獨步三界。永離五道

    Peter Pan By J. M, Barrie 潘彼得,梁實秋譯

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     潘彼得. 巴利著, 梁實秋譯. 商務.192?

    彼得-一個不願長大的孩子(絕版)_巴利原著_梁實秋譯_九歌出版 1992


    Book title: Peter Pan
    Author: J.M, Barrie
    Illustrator: Ezio Anichini
    Date: 1911
    可能是紀念碑的圖像
    475
    6則留言
    留言


    Philippe Sollers:《觀看‧書寫:建築與文學的對話/看與寫》Voir, Écrire ;《無限頌》Éloge de l'infini 《時光的旅人》《例外的理論》(Théorie des exceptions):The Proust Questionnaire; 《羅浮的騎士》

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    真傷腦筋,冠《時光的旅人》書名的,可能好幾本。譬如說:http://www.books.com.tw/products/0010401598

    菲利浦·索莱尔斯 (Philippe Sollers) (作者), 唐珍 (译者) ,上海同濟大學,2011

    吳錫德:法國作家、文評家索萊爾斯(Philippe Sollers)這本《時光的旅人》(2009),應是他個人一輩子的讀書隨筆。但他卻將它定位為"小說",意即"虛構" ..生態與文學: - Page 173 - Google Books Result

    p.65,"我和Breton都崇拜Chirico的油畫《兒童的大腦  Le Cerveau de l’enfant......"



    Image result for CHIRICO CERVEAU

    GOOGLE翻譯:http://www.pileface.com/sollers/spip.php?article965

    謝謝你的身體在那裡,無論如何,沉默,在一塊。他告訴我,他,沒有別的,這一直作出的決定,選擇的方向,形勢。病,疼嗎?就是他。抑鬱症,癲癇發作,損失,健忘?他再次。制動器,快樂,快樂?始終他。我不反對你,我說的身體,但對我來說。你怎麼能這樣對我?這個呢?而那?
    他簡略地說,我的身體。執子之手,他堅持認為,是我的。如果你深深呼吸,你會發現我在底部。你甚至不控制你的肺部時,你的心臟,你的血液循環,你的骨頭,你的細胞?讓我做,因為我一直做,不麻煩我了,不要打擾我。
    我們並不總是意見一致,我的身體和我萊拉例如故事一次。首先,我不喜歡,他喜歡它。我覺得關,停,堵在了無聊的家庭社會小說,但他,我的身體,為她的樂隊。這暈眩我十幾分鐘,她奪走了我的時候,他可以聽兩個小時,盯著他的眼睛,欣賞著她的脖子,她的肩膀,她的手勢,她的聲音的時候了。我更精緻,我的身體是庸俗。它打破了我的耳朵裡,他愛他的排練。我覺得很漂亮,沒有更多的,但對他來說是地獄之美。他將再次他媽的她,肯定的。我,我的身體,看著我的手錶謹慎,對於一個會議上三刻鐘,它會是這樣。一旦其已享受,我的身體消失了,留下我一個人帶莉拉,莉拉擔憂的喋喋不休,爾虞我詐萊拉,嫉妒的萊拉,壞脾氣莉拉。
    我要享受我自己,我的身體減慢了我。我想寫,他要出去。一個女人吸引著我,我的身體低語“什麼?“他是沒有錯的,我們知道盤,公寓,孩子,金錢,傷心沙拉。它的樂趣了一段時間,但它的爆裂。
    因為,再一次,我獨自奇妙和那麼多陌生支配我,我就在花園旁邊散步。在超短的精神波取得連接,我需要願景,聲音。這些局外人,比如,我看到他們在自己的黃色和棕色高昂著頭的第一次,就好像我進入我的視網膜。我寧願他們不起飛,但我可以走精,鼻子,在黑暗中。那麼,他們都是巨大的打擊,這些局外人,他們來自時間深處,同性戀,高聳,威脅,令人耳目一新。這個詞局外人我很喜歡,它承載著丁香,而且突然間,我覺得吃了這些花,我木。
    即使是驚喜,在大街上,用聲音,聲音,聽到的短語,晚上在夢中。我的大腦有自己的樂隊,他即興,他創作,他繼續說,它會在各個方向,而往往是妓院。它往往不會有它的方式,但我需要我的頭。我回收,可以理解,但有時狹,以其光不褪色。心臟輕,看來,照亮整個身體一次。在這裡,我的身體抗議:他不會被列入,理解,分析,定義,réengendré以另一種形式。這是它的難以理解的運動,該動物。
    我看著路人懷疑,他們相信自己,也難以理解。令人驚奇的是,他們都是為了身體,或者說簡單的圖像。我的身體,他是聰明的:他知道他不是一個圖像,它有優點在此結束時間投影。這就是說,它希望繼續掌握在船上,洗淨,餵,打扮,穿著認可受寵若驚,希望,珍惜,喜愛。他喜歡說話,並試圖不停止,跟我說話。他有他的記憶,我有時會傳給我。和夢想,幾乎都是一樣的:他失去了他的車,他的手機,他的身份證。他發現自己遠遠不可能的社區,身份不明的停車場,在那裡他有沒有用,酒店在那裡他從未涉足過,參加聚會,這是不歡迎,這些沉默指示當它出現時,這種陰險敵意和誤傳給了他,他們的臉上緊張或反對的,它帶來的空氣沉重此。
    我要打斷我的身體,我舒展,我回來了,我決定給自己定下我的夜晚和交叉口。它並不總是顯而易見的,我採取了存在的噩夢,但我有我的空地,我的海灘,我的樹林,我控制的磁懸浮,我的一種露面。這是怎麼回事,臉上後,我得到睡覺,或者說要休息的人群。我看到清楚的人流量數十億美元,堵車污染,然後脫落,它流動,它就推出。我的身體,有時會說“我們”,但我反對。他經常懷疑世界上獨自一人,其理由,但必須承認,是固體。最後,我沒有放棄,他被迫跟著我。
    (......)菲利普· 索萊爾時間旅行者,伽利瑪,2009年,p.11-14



    ******
    要了解本書《例外的理論》(Théorie des exceptions),讀者需要知道太多西方 (含俄國)的文學、藝術作品的知識。似乎只有勤查網路。
    譬如說,全書及〈引言〉p.2 :https://en.wikipedia.org/wiki/Orion_(mythology)

     Him the old man Priam was first to behold with his eyes, as he sped all-gleaming over the plain, like to the star that cometh forth at harvest-time, and brightly do his rays shine amid the host of stars in the darkness of night, the star that men call by name the Dog of Orion. [30]   Homer, Iliad, Book 22http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0134%3Abook%3D22%3Acard%3D1








    The Proust Questionnaire; Philippe Sollers《例外的理論》(Théorie des exceptions)
    Théorie des exceptions
    Book by Philippe Sollers
    Originally publishedJanuary 1986
    AuthorPhilippe Sollers




    Origin

    Late Middle English: via Old French from Latin exceptio(n-), from excipere ‘take out’ (see except).

       Origin

    Late Middle English: from Latin except- ‘taken out’, from the verb excipere, from ex- ‘out of’ + capere ‘take’.
                    Origin
    Late 16th century (denoting a mental scheme of something to be done): via late Latin from Greek theōria ‘contemplation, speculation’, from theōros ‘spectator’.


    例外的理論


    內容簡介

    菲利普·索萊爾斯編著的這本《例外的理論》收錄了近40篇關於作家、藝術家的評論文,包括《盧克萊修的沉思》、《關於德·庫寧》、《巴黎天文台》、《圓頂屋咖啡館》、《關於「女人們」》等。

    劉成富,1962年1月生,1994年畢業於巴黎第七大學,獲博士學位,現任南京大學外國語學院教授、博導。發表學術論文100余篇,出版教材10餘部、譯著40余部。代表作《20世紀法國」反文學「研究》。
    徐姍姍,生於江蘇揚州,現為南京大學法語語言文學博士研究生。

    菲利普·索萊爾斯(Philippe Sollers,1936— ),出生於法國波爾多市。法國當代著名小說家、評論家、思想家、結構主義的思想先鋒之一,與羅蘭·巴特同為結構主義代表人物。代表作有《天堂》(1981)、《女人們》(1983)、《游戲者的畫像》(1985)、《例外的理論》(1986)、《無限頌》(2001)等。


    目錄

    引言


    盧克萊修的沉思
    蒙田與變異
    塞萬提斯或重復的自由
    決疑論的頌歌(葛拉西安)
    聖西門與絕對知識
    薩德的信
    陀思妥耶夫斯基、弗洛伊德、輪盤賭
    普魯斯特與蛾摩拉
    喬伊斯與團體
    喬伊斯之聲
    福克納
    塞利納的微笑
    奧古斯特·孔德(洛特雷阿蒙)


    福爾娜瑞娜(拉斐爾)
    騎士(貝尼尼)
    華托
    美術之陽剛之氣(畢加索)
    聖詩(羅斯科)
    關於德·庫寧
    電視歌劇
    韋伯恩
    巴赫的勝利


    巴黎天文台
    波爾多
    雷島


    探析《天堂》的概念
    圓頂屋咖啡館
    榮耀頌(《天堂》的日記)
    教皇
    聖母升天
    弗洛伊德學說的發展
    拉康
    鮮血審查
    被精神分析法雞奸的馬克思主義,以及不知被何物強奸的精神分析法
    淺談蘇格拉底
    我知道我為何享受


    關於「女人們」
    「太法國化了!」
    回答普魯斯特的問卷*

    我一直向往一種變幻、矛盾的空間,就在這種空間出現的同時,在其內部產生了一種創造性行為。

    在那里,我猜想是沒有時間的,抑或時間被真正地重現:蒙田可媲美當代的普魯斯特,薩德相當於現在的福克納,聖西門與喬伊斯難分伯仲,華托川和畢加索平分秋色,而韋伯恩與巴赫則難決高低。古代名人和現代名人交相輝映、互為證明、互相補充。荷馬與弗洛伊德的聯系就如同《聖經》與《亞維農少女》,同樣都是不可或缺的存在。




    *
    Wikipedia
    ttps://en.wikipedia.org/wiki/Proust_Questionnaire

    The Proust Questionnaire is a questionnaire about one's personality. Its name and modern popularity as a form of interview is owed to the responses given by the French writer Marcel Proust.[1]
    At the end of the nineteenth century, when Proust was still in his teens, he answered a questionnaire in an English-language confession album belonging to his friend Antoinette, daughter of future French President Félix Faure, titled "An Album to Record Thoughts, Feelings, etc." At that time, it was popular among English families to answer such a list of questions that revealed the tastes and aspirations of the taker.
    Proust answered always with enthusiasm. The original manuscript of his answers of 1890, at the time of his volunteer internship or some little time afterwards, titled "by Marcel Proust himself," was found in 1924. It was auctioned on May 27, 2003 for the sum of €102,000.
    The television host Bernard Pivot, seeing an opportunity for a writer to reveal at the same time aspects of his work and his personality, traditionally subjected his guests to the Proust questionnaire at the end of the French broadcast Apostrophes.
    Inspired by Bernard Pivot, James Lipton, the host of the TV program Inside the Actors Studio, gives an adapted version of the Proust Questionnaire to his guests. Lipton has often incorrectly characterized the questionnaire itself as an invention of Pivot.
    A similar questionnaire is regularly seen on the back page of Vanity Fair magazine, answered by various celebrities. In October 2009, Vanity Fair launched an interactive version of the questionnaire, that compares individual answers to those of various luminaries.[2]
    Another version of the questionnaire, as answered by various Canadian authors, is a regular feature on the radio program The Next Chapter.

    The questionnaire[edit]

    There are two surviving sets of answers to the confession album questions by Proust: the first, from 1885 or 1886, is to an English confessions album, although his answers are in French. The second, from 1891 or 1892, is from a French album, Les confidences de salon ("Drawing room confessions"), which contains translations of the original questions, lacking some that were in the English version and adding others.
    Confessions questionsConfidences questionsProust's answers 1890
    Your favorite virtueThe principal aspect of my personalityThe need to be loved; more precisely, the need to be caressed and spoiled much more than the need to be admired
    Your favorite qualities in a man.The quality that I desire in a man.Manly virtues, and frankness in friendship.
    Your favorite qualities in a woman.The quality that I desire in a woman.Feminine charms.
    Your chief characteristic--------
    What you appreciate the most in your friendsWhat I appreciate most about my friends.To have tenderness for me, if their personage is exquisite enough to render quite high the price of their tenderness
    Your main faultMy main faultNot knowing, not being able to "want".
    Your favourite occupation.My favorite occupation.Loving.
    Your idea of happinessMy dream of happiness.I am afraid it be not great enough, I dare not speak it, I am afraid of destroying it by speaking it.
    Your idea of misery.What would be my greatest misfortune?Not to have known my mother or my grandmother.
    If not yourself, who would you be?What I should like to be.Myself, as the people whom I admire would like me to be.
    Where would you like to live?The country where I should like to live.A country where certain things that I should like would come true as though by magic, and where tenderness would always be reciprocated
    Your favourite colour and flower.My favourite colour.The beauty is not in the colours, but in their harmony.
    ----The flower that I like.Hers/His - and after, all of them.[3]
    ----My favorite bird.The swallow.
    Your favorite prose authors.My favorite prose authors.Currently, Anatole France and Pierre Loti.
    Your favorite poets.My favorite poets.Baudelaire and Alfred de Vigny.
    Your favorite heroes in fiction.My heroes in fiction.Hamlet.
    Your favorite heroines in fiction.My favorite heroines in fiction.Bérénice.
    Your favorite painters and composers.My favorite composers.BeethovenWagnerSchumann.

    Notes[edit]

    1. Jump up^ Carter, William C., and Henry-Jean Servat. 2005. The Proust questionnaire. New York: Assouline.
    2. Jump up^ Carter, Graydon, and Robert Risko. 2009. Vanity Fair's Proust questionnaire: 101 luminaries ponder love, death, happiness, and the meaning of life. [Emmaus, Pa.]: Rodale.
    3. Jump up^ In French the gender of the possessive is determined, not by the gender of the possessor, but the gender of the possessed object - in this case flower, 'fleur', is feminine, but the context gives no assurance of how to read 'la sienne' meaning 'his/hers'.

    Related links[edit]


    普魯斯特問卷(Proust Questionnaire)是一種用來調查被提問者個人生活方式、價值觀、人生經驗等問題的問卷調查。普魯斯特問卷其名稱來自於《追憶逝水年華》的作者馬塞爾·普魯斯特(Marcel Proust),但普魯斯特並不是此問卷的發明者,只是因為他曾對問卷給出過著名的答案,此後人們才把其命名為普魯斯特問卷。據說普魯斯特在13歲和20歲時各做過一次普魯斯特問卷,後來的研究者曾用這兩次問卷結果分析普魯斯特的個人成長經歷。
    浮華世界(Vanity Fair)曾在雜誌封底開設普魯斯特問卷專欄,每期刊登對一位名人的問卷調查結果。
    幾個普魯斯特問卷中出現的問題:
    01. 你認為最完美的快樂是怎樣的?
    02. 你最希望擁有哪種才華?
    03. 你最恐懼的是什麼?
    04. 你目前的心境怎樣?
    05. 還在世的人中你最欽佩的是誰?
    06. 你認為自己最偉大的成就是什麼?
    07. 你自己的哪個特點讓你最覺得痛恨?
    08. 你最喜歡的旅行是哪一次?
    09. 你最痛恨別人的什麼特點?
    10. 你最珍惜的財產是什麼?
    11. 你最奢侈的是什麼?
    12. 你認為程度最淺的痛苦是什麼?
    13. 你認為哪種美德是被過高的評估的?
    14. 你最喜歡的職業是什麼?
    15. 你對自己的外表哪一點不滿意?
    16. 你最後悔的事情是什麼?
    17. 還在世的人中你最鄙視的是誰?
    18. 你最喜歡男性身上的什麼特質?
    19. 你使用過的最多的單詞或者是詞語是什麼?
    20. 你最喜歡女性身上的什麼特質?
    21. 你最傷痛的事是什麼?
    22. 你最看重朋友的什麼特點?
    23. 你這一生中最愛的人或東西是什麼?
    24. 你希望以什麼樣的方式死去?
    25. 何時何地讓你感覺到最快樂?
    26. 如果你可以改變你的家庭一件事,那會是什麼?
    27. 如果你能選擇的話,你希望讓什麼重現?
    28. 你的座右銘是什麼?
    普魯斯特本人在其13歲和20歲的時候分別回答過該問卷,其中部分經典回答如下:[1]
    【13歲時的回答】



    ①你認為程度最淺的痛苦是什麼?
       A:和媽媽分開。
    ②你喜歡在哪兒生活?
       A:我的理想國。
    ③你認為現實中的幸福是怎樣的?
       A:活在那些我愛的事物當中,包括美麗的大自然,大量的書籍和音樂,不遠處有一家法國歌劇院。
    ④哪一種錯誤你覺得是最可以被縱容的?
       A:失去工作的才能。
    ⑤虛構人物中你認為誰是英雄?
       A:那些浪漫而有詩意的,對思想的表達遠勝過對現實的虛構的。
    ⑥你最欣賞的歷史人物?
       A:蘇格拉底、伯利克里、穆罕默德、小普林尼和奧古斯汀的混合體。
    ⑦現實中最欣賞的女性是誰?
       A:有天分卻過著平凡生活的女人。
    ⑧你欣賞的小說中的女英雄是誰?
       A:那些非常有女性氣質,非常柔弱、純潔,任何一面都非常美的女子。
    ⑨你最欣賞的男性氣質?
       A:智慧,有道德。
    ⑩你最欣賞的女性氣質?
       A:溫柔,自然,聰明。
    ⑪你最希望擁有的?
       A:閱讀、做夢和寫詩。
    ⑫你最希望成為誰那樣的人?
       A:如果這問題沒有的話,我寧願不回答。非要說的話,我希望是小普林尼。
    【20歲時的回答】 ①你最顯著的特質是什麼?
       A:渴望被愛,或者說,希望被關懷、被溺愛勝過被欽佩和讚賞。
    ②你最喜歡男性身上的什麼品質?
       A:有著男性的美德,在友誼中率直、真誠。
    ③你最喜歡女性身上的什麼品質?
       A:溫柔的、女性的迷人氣質,陰柔的吸引力。
    ④你最看重朋友擁有什麼樣的品質?
       A:敏感,倘若他們對我具有某種身體上的吸引力,那他們的敏感就是我需要的。
    ⑤你天性中的缺點是什麼?
       A:缺乏理解能力,意志力不強。
    ⑥你認為完美的快樂是什麼樣子的?
       A:沒有,恐怕那是一種很崇高的東西,我還沒有勇氣來說它到底是什麼樣子的。假使敢於表達,恐怕在說出來的那一刻,已經破壞了它。
    ⑦你最傷痛的是什麼?
       A:從不曾見過我的母親與我的祖母。
    ⑧你最想成為什麼?
       A:我自己,就如那些我讚賞的人希望我成為的那種人。
    ⑨你最想在哪個國家生活?
       A:一個能讓我對某些事確定不疑的國家,在那裡,敏感溫柔的思緒總是可以得到回應。
    ⑩你最喜歡的小說中的男主角是什麼?
       A:哈姆雷特。
    ⑪什麼是你最不喜歡的?
       A:我自己的,最糟糕的品質。
    ⑫你最希望具有怎樣的天賦?
       A:意志力強與難以抗拒的吸引力。
    ⑬你感覺最被縱容的錯誤是什麼?
       A:那些我可以理解的錯誤。
    ⑭什麼是你的座右銘?
       A:我寧願不說,擔心那會帶給我壞運氣。



    ***

    維基百科,自由的百科全書
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    菲利普·所來爾思
    Philippe Sollers
    Sollers IMG 5928.jpg

    菲利普·所來爾思Philippe Sollers,1936年11月28日),法裔歐洲作家,很早就獨自開始關注中國

    生平[編輯]

    菲利普·所來爾思,本名菲利普·如愛友(Philippe Joyaux),筆名所來爾思 (法語發音:[sɔlɛʁs]; Sollers 源於拉丁文 sollus(意為完全的)及 ars(意為機智,巧妙,敏捷),完整意義為「完全的藝術」。

    1936年11月28日出生於法國波爾多, 法國當代著名小說家文學評論家,博學多才,勇於各種文學創新,言行頗為駭世驚俗。

    菲利普·所來爾思與母親及姊姊安妮於1937年在波爾多家中私人花園.

    1957年,年僅22歲的所來爾思以短篇小說《挑戰》獲費內龍獎,翌年小說處女作《一種奇特的孤獨》獲評論界高度評價,尤其受到弗朗索瓦·莫里亞克路易·阿拉貢的激賞。1961年,小說《園》獲梅迪西文學獎。1960年,所來爾思於界限出版社創辦《如此》(Tel Quel) (又譯為《原樣》或《泰凱爾》) 雜誌及叢書,形成一個鋒芒畢露的前衛文學團體,對法國以及西方文學藝術界產生重大影響。《如此》(Tel Quel) 雜誌及叢書以文本-政治研究為方針,60至70年代主要發表當時被認為是違反常規的,持不同政見的,不為人知的,有爭議的甚至引起公憤的作家,哲學家,語言學家,精神分析家及文學理論家的文章及作品:薩德侯爵洛特雷阿蒙伯爵 (Lautréamont)、阿蒂爾·蘭波詹姆斯·喬伊斯 、安托南·阿爾托喬治·巴塔伊 (Georges Bataille)、雅克·拉康 、羅蘭·巴爾泰斯米歇爾·富科雅克·德希達以及毛澤東,所來爾思還曾翻譯過毛澤東詩詞。1983年,所來爾思離開界限出版社,加盟伽利瑪出版社,《如此》(Tel Quel) 更名為 《無限》(L'Infini),始終是法國最具影響和活力的文學刊物及叢書。1967年,所來爾思與保加利亞法國作家及精神分析家朱莉婭·克里斯蒂娃結為伉儷。1974年《如此》(Tel Quel) 雜誌代表團(所來爾思、克里斯蒂娃、馬塞蘭·普萊內(Marcelin Pleynet)、巴爾泰斯等一行五人)作為建國後西方知識分子首訪團訪問中國。所來爾思曾經學習過兩年中文並且在寫作中使用漢字,從60年代至今,他對中國思想文化及藝術的關注在其所有作品中都占有重要位置。


    所來爾思的作品也可以被看作是對自由的絕對捍衛:「重要的正是要逃離一切家庭,學校,軍隊,黨派,重力以及煩惱。」「事實上,他們想怎樣?他們以及她們?不過是控制,監視,改變,耽擱,榨取,剝削,竭力阻止, 這樣就不會有太多的自由,特別是言論的自由。」

    1981年,無任何斷句標點符號的小說《天堂》(Paradis) 的出版震動法國文學界,作為二十世紀最重要的文學作品之一,所來爾思開創一種全新形式:文本停止主宰斷句的邏輯, 走上擺脫束縛的道路,用純節奏性音樂模進順序和復調音樂,對主體的極限進行決定性和象徵性地粉碎。《天堂》為未來而作,他提出的問題針對寫作的未來。《天堂》包容整個世界的各種宗教以及古今各種哲學思想,以革命性文本寫作創新寫作形式。眾多神學家的出現更說明天主教思想對於《天堂》的重要性。羅蘭·巴爾泰斯在其著作《作家所來爾思》(Sollers écrivain) 中深度分析這種尖銳寫作。

    1983年《女人》(Femmes) 一出版即成暢銷書,小說通過一位美國記者的冒險生活來分析二十世紀政治史和藝術史的巨變。作者對權力和性的分析論述以此論斷為基礎:「世界屬於女人,也就是說世界屬於死亡。在這個問題上,所有的人都在撒謊。」

    1997年,小說《居》(Studio) 紀念法國天才早逝的詩人蘭波和德國十九世紀著名詩人弗雷德里希·荷爾德林。2006年,小說《神的一生》(Une vie divine)於善惡的彼岸揭示尼采的作品及一生對於二十一世紀人類的現實意義。

    2009年,小說《時光旅者》(Les Voyageurs du Temps) 的題目似乎是作者對五十多年的寫作生涯和全部著作的回顧。這部「形上學的偵探小說」,以迴旋音樂的行雲流水風格,縱橫穿越所有世紀,敘述者正如神槍手一般射出他的顆顆精神之彈。「用聖言征服所有世紀。穿越自由空間只是一個時光遊戲。這確實很瘋狂,很理智,奇特,偉大,具有爆炸性,燦爛又輝煌。不再沉睡同時又不停地沉睡,清醒的夢確實而且恆定。給予,再給予你,每一時刻都及其豐富,不費吹灰之力就取之不盡用之不竭,無窮無盡。」

    作品[編輯]

    小說

    隨筆

    河南大學出版社,2018

    專題著作

    傳記


    2016年4月20日 
    分享對象:所有人
    所有人
    這Denon Wing 讓我想起辜老師2014年的介紹,我當時查Wikipedia 的相關資訊補充。今天2016.4.20,我想起另外一本書應該另外有資訊:
    Pierre Rosenberg《盧浮宮私人詞典》翻譯本中, 無一張圖、畫。不過有些人物的書寫很有意思,譬如說, Vivant Denon 德農 1747-1825
    盧浮宮私人詞典
    Dictionnaire amoureux du Louvre, Paris, Plon, 2007 (ISBN 978-2-286-04003-1)
    作者: (法)皮埃爾·羅森伯格
    出版社:華東師範大學出版社
    出版日期:2014/
    -------
    2014.10.27
    辜振豐新增了 4 張相片。
    法蘭西名作家菲力普・索雷爾斯(Philippe Sollers)晚年大作《羅浮的騎士》,內容敘述18世紀怪傑德農(Vivant Denon ) 一生傳奇。他穿梭於封建舊時代、法國大革命、第一共和、拿破崙時代,憑著靈活多變的頭腦和美學修養,成為名副其實的不倒翁。他是小貴族,出身於勃艮第。
    是畫家
    戀の遍歷者
    間諜
    外交官
    羅浮宮第一任館長
    情色作家
    蒐藏家
    可能是 1 人的圖像
    [Jour de fermeture / Closing day]
    Après avoir été exposées au
    Museo Nacional del Prado
    , de nombreuses œuvres et notamment des tableaux d'Ingres reviennent au Louvre dans les salles rouges (aile Denon, 1er étage).
    After having been exhibited at the Museo Nacional del Prado, many artworks including especially paintings by Ingres are back at the Louvre in the red rooms (Denon Wing, 1st floor).
    © 2016 Musée du Louvre / Antoine Mongodin

    訪談錄

    書名:觀看‧書寫:建築與文學的對話,語言:繁體中文,ISBN:9789574456093,頁數:192,出版社:書林出版有限 ... 原文作者:Christian de Portzamparc, Philippe Sollers; 譯者: 姜丹丹; 出版社:書林出版有限公司; 出版日期:2014/11/26.

    音像作品

    文學獎項及榮譽

    外部連結[編輯]


    Nijinsky's Diary《尼金斯基的日記》Vatslav Nijinsky (1890~1950)

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    The Diaries of Vaslav Nijinsky --- Trailer

    https://www.youtube.com/watch?v=ubUN05Tyqec


    有中文本
    Nijinsky's Diary was written during the six weeks in 1919 he spent in Switzerland before being committed to the asylum to Zurich. It reflected the decline of his household into chaos.[58] He elevated feeling and action in his writing. It combined elements of autobiography with appeals for compassion toward the less fortunate. Discovering the three notebooks of the diary years later, plus another with letters to a variety of people, his wife published a bowdlerized version of the diary in 1936, translated into English by Jennifer Mattingly.[1] She deleted about 40 per cent of the diary, especially references to bodily functions, sex, and homosexuality, recasting Nijinsky as an "involuntary homosexual." She also removed some of his more unflattering references to her and others close to their household. She moved sections around, obscuring the "march of events" obvious in the original version and toning down some of the odder portions, including trying to distinguish between sections in which he writes as God and others as himself (in the original all such sections are written the same.)[1]

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

    瓦斯拉夫·弗米契·尼金斯基Vatslav Nijinsky波蘭語:Wacław Niżyński;俄語:Ва́цлав Фоми́ч Нижи́нский,)(1890年3月12日-1950年4月8日)是波蘭俄羅斯芭蕾舞者編舞家,以非凡的舞蹈技巧及對角色刻畫的深度而聞名。他是當時少數會足尖舞的男性舞者,擁有彷彿可擺脫地心引力束縛的舞姿使其成為傳奇。他的妹妹Bronislava Nijinska是編舞家。

    生平[編輯]

    天方夜譚》中的尼金斯基
    尼金斯基出生在烏克蘭基輔,本名為Wacław Niżyński,父母是波蘭裔舞蹈家Tomasz Niżyński和Eleonora Bereda。他在華沙受洗,並認為自己是波蘭人,儘管他因為童年一直隨父母在俄羅斯內陸工作,未有學好波蘭語[1]
    在尼金斯基給朋友的信中,他寫道:「母親給了我牛奶和波蘭語,因此我是波蘭人。……我不能說〔波蘭語〕,因為不被容許」。 據稱波蘭語是這位著名的芭蕾明星唯一用來祈禱的語言[1]
    尼金斯基在1900年加入了皇家芭蕾舞學院,在那裡他師從切凱蒂Nikolai Legat 及 Pavel Gerdt。 在18歲,他得到一連串領舞的機會。 1910年,該團的首席女舞者瑪蒂爾德·克謝辛斯卡挑擇尼金斯基在彼季帕重演的節目 《魔符》中擔任風神Vayou一角,引起了極大轟動。
    尼金斯基的生命中的轉戾點是遇上謝爾蓋·達基列夫,一個在國外〔尤其是在巴黎〕致力促進俄羅斯音樂視覺藝術的著名芭蕾舞歌劇監制及策展人[2]。有一段時間尼金斯基與狄亞格烈夫成為戀人[3][4],同時狄亞格烈夫大量參與尼金斯基事業的管理與策劃。1909年,狄亞格烈夫帶了一班俄羅斯歌劇和芭蕾舞明星到巴黎,重點推介尼金斯基和安娜·巴甫洛娃。這次演出,在西方前所未見的俄羅斯芭蕾舞及歌劇大放異彩,獲極大的成功,亦令狄亞格烈夫與編舞米歇爾·福金及設計師利昂貝斯克創立了著名的俄羅斯芭蕾舞團。俄羅斯芭蕾舞團這個巴黎舞季在藝術界及社會引起極大轟動,對藝術舞蹈音樂時裝趨勢的影響幾達十年。
    尼金斯基獨特的天賦才華在福金的作品中表露無遺,如《 阿密德之亭 》(尼古拉·切列普寧作曲 ),《埃及艷后》(安東·阿連斯基及其他俄羅斯作曲家作曲)和嬉遊曲 La Fète。他在《睡美人》(柴可夫斯基)雙人舞中充滿感染的演出獲極度贊賞。1910年,他演出了《吉賽爾》、福金的芭蕾舞《Carnaval (ballet)》和《天方夜譚》(源於里姆斯基-科薩科夫管弦樂組曲 )。他於馬林斯基劇院塔瑪拉·卡莎維娜合作,被譽為「當代最出色的藝術家」[5]
    玫瑰花魂》中的尼金斯基
    然後尼金斯基回到了馬林斯基劇院,但由於在演出吉賽爾的阿爾博特時,未有根據慣例在緊身衣內穿上端莊的短褲,被太后瑪麗亞·費奧多蘿芙娜投訴為猥褻,因而被辭退。 他在福金的新作《玫瑰花魂》〔卡爾·馬利亞·馮·韋伯作曲〕及《彼得魯什卡》〔斯特拉文斯基作曲〕中擔任主角,他扮演的一個失戀的木偶,大獲好評。
    尼金斯基開始自行創作芭蕾舞,風格偏鋒具爭議。他的作品有《牧神的午後》〔源自德彪西的《牧神的午後前奏曲》〕 (1912)、《遊戲》 (1913)、《狄爾惡作劇》(1916)。在《春之祭》〔斯特拉文斯基作曲 〕中,他的創作踐踏了古典芭蕾舞禮儀的警界線。他的觀眾破天荒地經歷到現代舞蹈的未來與新方向。極端而充滿稜角的舞步完整地表達了斯特拉文斯基現代樂章中的靈魂。不幸的是,尼金斯基的舞蹈新方向在巴黎香榭麗舍大街劇院首演時引起了騷亂。牧神的午後》中他模擬以仙女的圍巾自慰的動作成為醜聞。在巴黎有一半的人指控他淫穢,但也有藝術家奧古斯特·羅丹、 奧迪隆·雷東馬塞爾·普魯斯特為他作辯護。
    尼金斯基在巴黎蒙馬特公墓的墓碑。 這尊雕像由謝爾蓋·裡法捐贈,顯示了尼金斯基的木偶彼得魯什卡造型。
    1913年,俄羅斯芭蕾舞團前往南美洲巡迴演出。 由於迷信自己會在海上遭遇不測,狄亞格烈夫沒有參與這個旅程。 在沒有監管的情況下,尼金斯基結識了羅慕拉 ,一位匈牙利伯爵夫人 。 作為尼金斯基忠實的擁護者,她學習芭蕾舞,並利用家族的關係千方百計親近他。 儘管她努力吸引他,尼金斯基開始時似乎沒有意識到她的意圖。 最後,在南美之行的船上,她成功地獲取他的感情。他們在布宜諾斯艾利斯成婚了 。 當該公司回到歐洲後,狄亞格烈夫得知此事,暴跳如雷,最終解僱了尼金斯基。 尼金斯基試圖建立自己的舞團,但一個關鍵性的倫敦委約因管理問題而失敗告終。[來源請求]
    第一次世界大戰期間,尼金斯基在匈牙利身陷囹圄。 1916年狄亞格烈夫設法把他救出,讓他參與一次北美巡演。 在此期間,尼金斯基編排了《締爾的玩笑》並擔任主角。然而就在這個時候,他開始出現精神分裂的症狀。在 1919年,神經衰弱令他的職業生涯完結。他被診斷患有精神分裂症,被妻子帶到瑞士,接受到精神病學家布洛爾的治療,但並未痊癒。
    尼金斯基在精神病院和收容所中渡過餘生。 1950年4月8日死在倫敦一所診所,後被安葬在倫敦,直到1953年被轉移到法國巴黎的蒙馬特公墓,畔在Gaétan Vestris 、 泰奧菲爾·戈蒂耶和Emma Livry 的墳墓旁邊。
    尼金斯基去世後,一位法醫解剖他的腿,檢查骨骼或組織結構有什麼異常,希望解開尼金斯基驚人的跳躍力之謎,但未有任何特別發現。[來源請求]

    死後傳奇[編輯]

    尼金斯基的女兒吉拉(Kyra)嫁給了一個烏克蘭籍的指揮家伊戈爾·鮑里索維奇·馬克維奇,然後他們生了個叫瓦斯拉瓦(Valva)的兒子,但是,他們最終以離婚的方式結束了彼此的婚姻關係。
    在受庇護之前,尼金斯基在瑞士待的六星期時光中寫下了《尼金斯基的日記》。即使這本書晦澀而令人困惑,這也明顯是一部精神分裂症患者的作品。除此之外,尼金斯基又在許多方面反映了他慈愛的天性(Loving nature),包含了諸如因個人的不幸而理應受到他人同情的具有自傳性質的申訴之成分,其中還有對素食主義動物權利的支持。他寫了感覺的重要性,以相對於僅僅是依賴道理邏輯,他還譴責了藝術評論的行為,因為他視該行為只不過是個人意願的強加而不是將焦點放在藝術家所要表達的情感上。日記還含有心酸和矛盾的想法,這通常被視受到他與狄亞格烈夫關係的影響。
    毋庸置疑地,尼金斯基做為一名成功的舞蹈家,擁有一段非凡的人生。 在尼金斯基死後,他的同伴卡爾斯薩維那曾說:現在,終於有年輕人,而且是在此學院之外,能夠表演使他(尼金斯基)儕輩驚詫的高超舞藝了![來源請求]一般認為,他的主要非凡技藝能在對啞劇表演的嫻熟與精密的舞技(他想跳多高就有多高,想躍多遠就躍多遠)中體現,其中還包括他的人格魅力。他在諸如《藍色之神》(:Le Dieu Bleu)中的角色和於《玫瑰花魂》飾演玫瑰,或是《天方夜譚》中招人喜愛的奴僕等中性角色的扮演中皆無與倫比。[來源請求]
    尼金斯基在埃米爾·奧托·霍普(Emil Otto Hoppé,這位先生還於1909年至1921年期間拍攝了眾多俄羅斯芭蕾舞團倫敦舞季的相片)製作的無數靜物攝影作品中被銘記。然而,歷史上沒有留下任何尼金斯基演的影片。狄亞格烈夫從未允許舞團拍攝電影,在那時,他認為自己舞團中的舞者之水平不可能在電影中得到真正的展現,此外,他還擔心自己公司的聲譽會受到影響(倘若受眾只從蹩腳而簡短的影片中觀看他的「演出」)。[6]

    Vaslav Nijinsky (1889 - 1950)- the God of Dance
    In his glory days the Russian-Polish dancer – who was born in Kiev in 1890 to parents who were both celebrated dancers – was worshipped like a rock star.
    The French called him “le Dieu de la Danse” – the God of Dance. Fans stole his underwear from his dressing room while he was performing groundbreaking works such as Afternoon of a Faun, which premiered in Paris 1912. Known for his gravity-defying leaps and experimental and erotic choreography, he changed ballet forever.
    Yet behind the scenes the maverick dancer endured mental illness. He struggled to maintain a semblance of normality before a descent into madness prematurely ended his career in 1919.
    “Nijinsky is a tour de force not only because of the central character, but because of the choreography,” says The Australian Ballet’s artistic director, David McAllister. “For Neumeier, dance is really elemental: it’s not just about putting steps together, it’s about truly telling a story and dancing like an actor. It’s powerfully dramatic.”

    《一代國士俞大維》《俞大維傳》俞大維故居。紀念學會

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    不是國民黨員,也不是黃埔軍校出身,俞大維卻擔任中華民國國防部長長達10年,是首位設有紀念館的國防部長。(中央社檔案照片)


    為新成立的單位題寫240cm長的招牌
    未提供相片說明。



    傳奇國防部長俞大維 金門人難忘的158公分巨人

    發稿時間:2017/10/21
    俞大維舊居專題1(中央社記者黃慧敏金門縣21日電)不是國民黨員,也不是黃埔軍校出身,俞大維卻擔任中華民國國防部長長達10年,是首位設有紀念館的國防部長。他在台北市溫州街的舊居已被定為文化資產,這位158公分的巨人與金門關係深厚,至今仍讓許多金門人難忘。

    回想民國77年八二三砲戰30週年紀念日俞大維重返金門的盛況,早年投身軍旅、現任烈嶼鄉文化館館長的林馬騰記憶猶新。他說,從司令官以下,整個小金門全體總動員,鋪紅地毯迎接他;男女老少都爭相再睹他的丰采,這個畫面令人難忘。
    前國防部長俞大維(坐輪椅者)民國52年巡視小金門時,與一名出生的女娃洪國珍結緣;民國77年八二三砲戰30週年,他重返舊地,在女娃青歧老家受到熱烈歡迎。(翻攝照片)中央社記者黃慧敏傳真 106年10月21日前國防部長俞大維(坐輪椅者)民國52年巡視小金門時,與一名出生的女娃洪國珍結緣;民國77年八二三砲戰30週年,他重返舊地,在女娃青歧老家受到熱烈歡迎。(翻攝照片)中央社記者黃慧敏傳真 106年10月21日
    此行,俞大維特別到青岐和西宅探望當年他命名的嬰孩蔡國光和洪國珍的老家,兩家人像辦喜事般地隆重接待他。洪國珍說:「那時我家風光得不得了,我開心極了。」

    俞大維民國51年為蔡國光命名的同時,也為軍方草棚電影院改建的戲院取名「國光」。蔡國光的父親蔡水杉感謝俞大維為兒子命名,還說,後來蔡國光到國光戲院看電影都是免費。蔡水杉6、70年代遷居台灣後,一年大概會到俞大維新生南路官邸拜會俞大維一兩次。

    高齡96歲的烈嶼鄉老鄉長洪福田,談到俞大維,不禁豎起雙手大拇指推崇。他說,俞大維來過小金門好多次,還記得有一次俞大維在市場買了一個大冬瓜。
    高齡96歲的烈嶼鄉老鄉長洪福田(圖)談到前國防部長俞大維,不禁豎起雙手大拇指推崇。中央社記者黃慧敏攝 106年10月21日
    俞大維一生充滿傳奇,一介文人卻總綰國家兵符,以過人的學識才智與氣節贏得長官器重與屬下尊敬。金門俞大維紀念館展示的資料說,俞大維的名言是「我不相信情資,我只相信我雙眼所見的」他曾乘搭乘空中偵察機130多次,深入大陸內部。部屬認為部長不必御駕親征,但他卻說:「我不能去的地方,我也不會讓我的部屬去。」

    也因為親自偵察兩岸情勢,他獨排眾議,堅持共軍一定會攻打金門,國軍也才能夠打贏八二三砲戰這一役,成功防禦台澎金馬,奠定了國家日後的繁榮基礎。

    俞大維紀念館的導覽資料指出,俞大維從高中到大學只花了5年,到哈佛大學留學時也是跳級,3年就讀完碩博士。之後,他再赴柏林大學深造,修習數理邏輯、哲學之餘,兼修彈道學,為日後以非軍職出任國防部長奠下厚實軍事基礎。

    他回國出任駐德採購,期間最為人津津樂道的就是政府給他12門大砲的經費,他卻帶回15門,笑說是廠商贈送的。真相是,他婉拒收取回扣,將回扣的錢再多買3枚大砲,清廉得連一毛錢也沒有放入自己口袋。

    俞大維歷任兵工署長、交通部長,一路做到國防部長。在他晚年貼身訪問他的資深記者沈靜透露,他擔任交通部長時,還親自去送信,體驗郵差的辛苦。身先士卒的典範,令人感佩。

    不像一般部會首長在辦公室裡辦公,俞大維在國防部長任內,有「前線部長」之稱,最常跑金門、馬祖和大陳。林馬騰形容俞大維是在飛機上辦公,3、5天就跑一趟金門。俞大維的乾孫女洪國珍也說,「公公沒有辦公室,他告訴我,他的辦公室就在金門。」
    zoom in民國45年,時任國防部長的俞大維(前)視察金門前線時留影。(中央社檔案照片)民國45年,時任國防部長的俞大維(前)視察金門前線時留影。(中央社檔案照片)
    雖然貴為國防部長、總統府資政,俞大維一生過著簡單、儉僕生活。晚年經常採訪他的中央社資深記者沈靜說,他到晚年還是睡著那一張單人床。82年7月,俞大維在證實罹患腎臟癌後2週過世,沈靜說,一般腎臟癌病患會非常疼痛,但俞大維很有福氣,不會感覺疼痛;而他過世時紅光滿面,也是沈靜從沒有見過的安詳。

    俞大維的遺願是死後要把骨灰灑在金門海域,永遠陪伴八二三陣亡弟兄。洪國珍在淮陽艦上全程見證了這一幕。

    俞大維紀念館裡有一個和本尊1:1比例的蠟像,他的身高不高,對國家的貢獻卻與身高成反比。他在民國43年到69年住了26年的台北市溫州街22巷4號,一度因都更面臨拆除命運。在建築師陳勤忠等人提報文資案後,台北市文資審議會通過提報為國定古蹟;後人將可在此緬懷這位前國防部長高風亮節的典範。1061021

    延伸閱讀》俞大維舊居成古蹟 提案建築師陳勤忠憂喜參半
    延伸閱讀》俞大維動員軍醫接生她 她送俞公公走完一生
    延伸閱讀》搬離俞大維故居 許文富家屬樂見老屋保住了
    延伸閱讀》俞大維晚年貼身採訪 沈靜引以為榮

    圖像裡可能有3 個人、文字

    俞大維故居
    圖像裡可能有3 個人、文字





    圖像裡可能有文字





    一代國士 俞大維
    作者: 李元平, 李吉安
    編者:哈用.勒巴克
    出版社:銘閎實業有限公司
    出版日期:2015/11/12
    語言:繁體中文

      俞大維何許人也?對現代年輕一輩來說,恐怕鮮有印象!

      民國七十五年六月研究所畢業,分發到軍聞社服務。社長李元平是我新聞採訪寫作的啟蒙恩師,更是讓我有機會接觸、採訪這位一生不忮不求,清末名臣曾國藩的外曾孫,也是哈佛大學一九二一年班傑出校友,更是中華民國首位擁有雙博士學位、又是將軍、教授的前國防部長俞大維之推手。

      俞老部長不僅因「八二三」一戰成名,而且更因「八二三」讓外國戰略軍事家,認識中國兵學寶典《孫子兵法》的奧妙。至情至性的俞大維,始終以「參謀官沒有姓名」自居,認為「八二三」是由於蔣中正總統英明領導,以及那些蹲在戰壕隨時付出生命鮮血的官兵與美方協助所致,一片丹心可表。

      他總是喜歡贈書給有緣人,勸人多讀書。老人家常笑謂:「書中也許沒有黃金屋,但自有道理千萬般,至少不會讓人變成老骨董。」筆者在採訪俞部長的六年多時光裏,先後獲老先生《三字經》、《陳散原文集》、《曾文正公家書全集》、《馬歇爾第二次世界大戰報告書》、《國防論》、《十一家註孫子兵法》、《顧炎武日知錄》上下兩冊等寶貴贈書,分享知識的喜悅。

      但是每次拜訪時,記憶力奇佳的俞部長,總會語氣咄咄逼人,問你書看了沒有?或是峰迴路轉的巧妙談話,有無讀書立見真章。要是有涉獵,老先生總是開懷與人談個不停,並不時以有力的智慧之手,拍捶在人的肩膀上,雖然有時被他拍打會略感疼痛,但是能通過老先生的檢測,許多寶貴的人生哲理,源源的醍醐灌頂,讓人獲益無窮。如果,他洞悉獲書人或採訪者沒有充實準備,做足功課的話,不是耳朵聽不到,就是稱其身體不舒服,下次再約;或是顧左右而言其他,在不傷對方自尊使其知難而退。
      
      寬容幽默、瀟灑豁達,廣植福田正是俞老部長的本性,臨終前猶不忘叮囑家屬,勿為後事安排而擾人,遺體火化所燒出舍利子、舍利花,豈止是慈悲心懷的結晶。但,老先生最大的遺願,就是羽化後一定要由長子揚和駕機,將其骨灰灑在金門海上,行禮之前務必要先飛慈湖陵寢與泰山陵寢,向蔣中正總統與陳誠副總統致最後的敬禮。筆者有幸隨行採訪見證此一感人情景,迄今仍歷歷在目,永難忘懷。
      
      「人生自古誰無死,留取丹心照汗青!」徹悟生死大愛,與天地自然同在,永遠以身為蔣公手下一員打鐵匠為榮的「一代國士」俞大維,一生中不但沒有繳白卷,在人間更是瀟灑走一回。
      
      恩師李元平將老部長的傳奇一生,完成《俞大維傳》,於民國八十一年元月五日問世,立即成為坊間的暢銷書,隨即再版付梓,在短時間內寫下國內出版界發行十幾版的記錄,回響熱烈,由此可見一斑。
      
      就連對岸大陸「兩彈一星」科技之父錢學森、「中國」社會科學研究院哲學研究所學者高山杉等名人,都對俞部長的貢獻與風範,讚譽不絕。
      
      近年來,臺灣雖然歷經兩次政黨輪替,寫下「世界民主燈塔」的成就,但不管是在李登輝,或是陳水扁、馬英九執政,實難看到有像俞大維這種「敢言、敢行、敢當」,且品德高尚廉潔,為國家利益與人民福祉全力以赴的風骨官員,未嘗不是臺灣今日未能向上提升的關鍵。
      
      由於《俞大維傳》已絕版,為勾起大家對這位傳奇人物的懷念,並作為人生觀建立與奮鬥的借鏡,奉恩師之命, 除對《俞大維傳》原文部分疏漏與錯誤之處, 加以補強校正外,並添增如今日沸沸揚揚、隨時有爆發南海衝突的問題,早在民國四十五年六月,俞部長就與美軍第二任協防司令殷格索研討,並獲美軍支持,簽請蔣中正總統同意派兵進駐南沙太平島,鞏固我南海主權等先知灼見,以及救劉安祺免軍法問罪、保住郝柏村官位、俞氏家族對兩岸的深遠影響與一些鮮為人知的史料故事,鮮活地讓俞大維部長走進讀者眼前,期能有所反思與啟發。
      
      本書《一代國士俞大維》,堪稱是《俞大維傳》的2.0版,感謝恩師李元平的信任、羅順德將軍與莊威先生的資料提供、還有哈用‧勒巴克先生支持出版的決心,才能使本書能夠如期如質問世,實現筆者懷念與感激俞老部長的教誨心意。

    作者介紹

    作者簡介

    ☉李元平 前國防部軍聞社社長

     
      殊榮:《建設的火花》一書榮獲國家建設新聞報導特優獎
      著作:《平凡平淡平實的蔣經國》、《南海血淚》、《建設的火花》、《俞大維傳》

    ☉李吉安  前青年日報副社長
     
      殊榮:華視獎、金鐘獎入圍、獲新聞局評選為海外宣傳片、國軍33屆文藝金像獎軍聞報導項金像獎、大眾傳播教育攝影獎、全國青年創作美展攝影類優選、中華民國97、98年版國防報告書總主筆。

      著作:《軍聞一甲子》、《國之干城》、《十年寸草心-誰說久病床前無孝子》
      《追憶金門砲戰五十周年》作者之一、《允文允武—榮民學人實錄》作者之一、《築夢家園—新北巿低碳家園巡禮》作者之一、《文才武略繞指柔情-杜金榮上將》作者之一、《福利事業管理處五十年處慶專輯》作者之一、

    目錄

    壹 前傳
      

    第一章 滿門文武
    第一節 家世―代代書香
    第二節 家風—克勤克儉
    第三節 「公羊」啟蒙—幸與不幸

    第二章 治學心法
    第一節 偷看閒書—崇拜天下第一好漢
    第二節 求學—既吃虧又佔便宜的求學方法
    第三節 哈佛的心法—簡單清楚取勝
    第四節 兩次留德—由學文而學武
      
    第三章 初試啼聲
    第一節 徘徊人生十字路口
    第二節 柏林「中國三劍客」、「結拜抗日六兄弟」
    第三節 上「牯嶺」,初謁委員長
    第四節 「中國的雷聲」—俞大維廉儉
    第五節 父子英雄
    第六節 神射手俞大維
    第七節 長期抗戰確保彈藥無缺
    第八節 我在兵工廠實行福利社會
      
    第四章 風雲際會
    第一節 風雲際會的年代
    第二節 選派科學家,學造原子彈
    第三節 運兵東北與戰後接收
    第四節 參加「三人小組」始末
      
    第五章 交通部長(民國三十五年五月~三十八年元月)
    第一節 韓信登臺
    第二節 金元券罪言
    第三節 徐蚌戰場空中投糧
    第四節 重病辭卸交通部長
      
    第六章 顛沛流離(民國三十八年~四十年)
    第一節 張治中最傷害蔣公
    第二節 假如我是王耀武、鄭洞國……
    第三節 劉斐不可能是匪諜
    第四節 牆倒眾人推
    第五節 骨肉離散
    第六節 臺大校長宿舍的過客
    第七節 解救陳儀
    第八節 追訴毛邦初貪污案
      
    第七章 臺海風雲(民國四十三年~五十四年)
    第一節 聽到砲聲就趕回來
    第二節 大陳轉進
    第三節 建軍備戰
    一、殺包啟黃
    二、國民黨的漏網之魚
    三、調查孫立人案敬陪末座
    四、軍人待遇比照公教
    五、外島「補給官」
    六、親批的唯一公事
    七、公館機場興建記
    八、高登大維港
    九、爭取美援、策訂三個作戰計畫
    十、部長的辦公室在前線
    十一、偵察飛行:「前無古人,後無來者。」
    十二、敵前夜狩錄
    第四節 作戰篇
    一、戰爭前夕
    二、出生入死
    三、商洽緊急軍援—難纏的外交攻防戰
    四、取得臺海空優
    五、八吋巨砲~反砲擊~停火
    六、火線零縑
      
    第八章 兒女親家
    第一節 兒女篇
    第二節 親家情
      
    第九章 書生本色
    第一節 奉溪先生與我
    第二節 蔣經國叫宋美齡一聲媽
    第三節 遞辭呈;「我沒有繳白卷!」
    第四節 鶼鰈情深
    第五節 讀書人要收攤了!
    第六節 最後征程

    貳 增補  
    第一章 威遠計劃
    第二章 保住郝柏村、劉安祺
    第三章 成績單
    第四章 大師世紀對話錄
    第五章 近代中國國防科技始祖園丁
    第六章 知者不言
    第七章 談募兵
    第八章 俞氏家族
    第九章 史政要「實」
    第十章 行得通才是好政策
    第十一章 龍嫂
    第十二章 寶劍贈英雄
    第十三章 俞大維與高登
    第十四章 追隨二十四年

    參 附錄
    第一章 「八二三」美國援華兩大附件
    第二章 遺囑
    第三章 一片彈殼
    第四章 瑰奇之士、勳榮永駐
    第五章 俞大維家族表
    第六章 年表大事記
    第七章 《俞大維傳》作者的一封公開信


    這本書

    大陳島撤退時 俞大維部長多次去馬祖附近諸島空中巡視

    包括近來新聞中的
    平潭島 (台灣)
    平潭
    新竹

    福州
    平潭位置圖

    平潭島又稱海壇島,位於福建東部福州市,屬於平潭縣,是福建省的最大島,中國大陸第五大島,面積370.9平方公里。海域面積6064平方公里,海岸線長408公里。人口近40萬。

    海壇島是福建省的最大島,中國大陸第五大島,面積370.9平方公里。海域面積6064平方公里,海岸線長408公里。素有「千礁島縣」之稱。與福清市隔著海壇海峽。另外,平潭與臺灣新竹間為臺灣海峽最狹處(68),島上立有相關示意碑。







    對所謂孫立人案也有其"控訴"

    俞大維傳

    封面
    臺灣日報社, 1992 - 392 頁
    李元平《俞大维传》,台北:台湾日报社,1992年1月5日初版,同年1月22日增订2版。据作者说,这部传记主要是根据他对俞大维所做数次访谈的记录,


    我想 個人讀本書都會注意到自己想看的東西
    我注意到的是
    馬歇爾說四強中以蔣介石的周邊的人的品質最差
    台灣228的接收失敗 一如在中國的幾個城市般 很不得民心
    陳儀--
    俞大維的 "恩人"的正反面.....
    王雲五推行的金元券 讓中國的中產階級都破產 是失去中國的主因
    可是王雲五至死都認為他是對的....
    他在當交通部長的科學管理
    我還注意到1987年邏輯學家訪問俞大維先生 安慰他是"學以致用"型
    整篇認為蔣介石是恩人
    (他晚年也是在安全系統監視下的一員)

    他追訴對美採購大員的勝訴 連胡適等都要打電報慶賀


    網路上有些摘述

    俞大維傳-823砲戰節錄-戰爭前夕1

    俞大維傳-晚年節錄-

    這本傳記雖不全面 但可以參考的地方很多

    余大維傳李元平/台灣日報社1992

    譬如說 我今天 看一"演講" : 朝左的閱讀路線
    想起維先生剛拿到哈佛博士學位 拿獎學金到歐洲去 在船上有有人勸他讀點左派的書 如此知識才完全
    维基百科,自由的百科全书
    俞大維

    任期
    1954年5月27日1965年1月13日
    前任郭寄嶠
    繼任蔣經國

    任期
    1948年5月31日1949年2月8日
    前任首任
    繼任凌鴻勛(代理)
    端木傑(正任)

    第8任中華民國國民政府交通部部長
    任期
    1946年5月16日1948年5月31日
    前任俞飛鵬
    繼任行憲

    性別
    出生1897年1月11日
    大清浙江省山陰縣
    逝世1993年7月8日 (96歲)
    中華民國臺北市
    籍貫浙江紹興
    國籍中華民國
    政黨Independent candidate icon (TW).svg無黨籍
    父母俞明頤(父)
    曾廣珊(母)
    配偶妻 陳新午(1929年起)
    同居者(德國鋼琴教師)(1924年前後)
    子女俞揚和俞方濟俞小濟
    軍事背景
    效忠中華民國
    服務Republic of China Army Flag.svg中華民國陸軍
    階級中將
    獲獎青天白日勳章
    俞大維(1897年1月11日-1993年7月8日),中華民國軍事、政治人物,浙江紹興人,美國哈佛大學哲學博士。曾任中華民國交通部部長、國防部部長等職,八二三砲戰即在其任國防部部長時發生。

    目錄

    [隐藏]

    [编辑]經歷

    1918年10月,俞大維赴美入哈佛大學哲學系,畢業後至德國柏林大學深造,專攻數理邏輯與哲學。留德期間,聆聽過愛因斯坦教授的相對論課程,1925年,俞大維寫了一篇論文,題為《數學邏輯問題之探討》,刊登在愛因斯坦主編的德國數學雜誌《數學現況》上,成為在這本著名刊物上發表論文的第一個中國人。而在該期刊發表論文的第二個中國人是華羅庚,二人日後成為好友。因興趣逐漸轉向彈道研究,嗣成為彈道學專家,對兵學也由此奠定深厚基礎。
    1928年,國民革命軍北伐成 功,全國統一,國民政府開始著手軍經建設,俞大維出任新設立「駐德使館商務調查部」主任。1929年6月返國,任軍政部參事。翌年5月,再度赴德,負責採 購軍備,並續習德國參謀教育。有一次政府命其採購大砲,按值計量,可買12門,但運回中國時,卻為15門,詢其緣故,僅輕描淡寫謂:「是送的」。實其將所 得傭金,另購砲3門,俞大維先生的熱血報國之心不言而喻。1932年派任參謀本部少將主任秘書,但俞大維婉拒而自願至中央訓練團任兵器總教官。次年1月,調軍政部兵工署長,並晉升陸軍中將,對當時的兵工現代化做出許多貢獻。
    1937年抗戰爆發,俞大維指揮將沿海30餘座兵工廠、鋼鐵廠、材料廠、及兵工技術單位以有限之人力、物力與獸力搬運,陸續西遷內陸繼續生產,為抗戰中國國防工業生產貢獻卓越,1944年12月,調軍政部常務次長,並兼中美聯合參謀部中國代表,負責與美方代表魏德邁將軍協商,爭取美國軍援,當時「阿爾發部隊裝備方案」,使國軍36個師換裝美式裝備,即為此達成之建議。1946年4月,參加國府、中共、美國代表之3人小組會議,協商戰後還都事宜;5月,獲國民政府頒授青天白日勳章
    1946年5月16日,繼俞飛鵬出任交通部部長,任內建立交通資料中心,全國鐵道狀況之自動化,以及郵政開辦24小時服務等事績尤為人稱道,1950年1月赴美養病。1954年出任國防部長,先後長達10年之久,任內積極整軍建設促使國軍成為一支現代化之部隊,1965年初,因病辭去部長一職由蔣經國接任,轉任總統府資政1993年病逝,享壽96高齡。

    [编辑]家庭

    俞大維的家世十分顯赫,不但名人眾多,還跟許多知名的家族結為姻親。

     好學不倦

    俞大維一生都非常喜歡讀書求知識。當他晚年,視力變差,已無法看書時,決定「讀了一輩子書,現在要收攤了!」收攤就是不再讀書了,但收攤可是有一套 嚇人的程序:他決定把以前唸過的書,溫習一遍,之後才不讀書。俞大維決定每個月溫習一學問,「邀請各類學問極有成就的老朋友,相互討論」,他計畫先溫習天主教神學,請羅光主教陪他溫課,接著還計畫請物理學家吳大猷溫課,之後還有音樂、美術、哲學、數學、美學……,他不溫習軍事,因為那不是高深學問。

     外部連結

    [编辑]參見



    Marc Ferro (1924~2021馬克費侯)

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     He was Director of Studies in Social Sciences at the École des hautes études en sciences sociales. He was a co-director of the French review Annales and co-editor of the Journal of Contemporary History.

    He also directed and presented television documentaries on the rise of the NazisLenin and the Russian revolution and on the representation of history in cinema.[2]

    Ferro died in Saint-Germain-en-Laye in April 2021 at the age of 96.[3]

    Bibliography[edit]

    • La Révolution de 1917, Paris, Aubier, 1967 (reprinted in 1976, then in 1997 at Albin Michel) [English translation: October 1917 : a social history of the Russian revolution , translated by Norman Stone, 1980]
    • La Grande Guerre, 1914-1918, Paris, Gallimard, 1968 (reprinted 1987) [English translation: The Great War, 1914-1918, 1972][4]
    • Cinéma et Histoire, Paris, Denoël, 1976 (réédité chez Gallimard en 1993) [English translation: Cinema and history, translated by Naomi Greene, 1988]
    • L'Occident devant la révolution soviétique, Brussels, Complexe, 1980
    • Suez, Brussels, Complexe, 1981
    • The Use and Abuse of History, Or, How the Past is Taught, 1981
    • Comment on raconte l'histoire aux enfants à travers le monde, Paris, Payot, 1983 [5]
    • L'Histoire sous surveillance : science et conscience de l'histoire, Paris, Calmann-Lévy, 1985 (reedited in 1987 by Gallimard)
    • Pétain, Paris, Fayard, 1987 (reedited in 1993 et 1994)
    • Les Origines de la Perestroïka, Paris, Ramsay, 1990
    • Nicolas IIPayot, Paris, 1991
    • Questions sur la Deuxième Guerre mondiale, Paris, Casterman, 1993
    • Histoire des colonisations, des conquêtes aux indépendances (XIIIe-XXe siècle), Paris, Le Seuil, 1994
    • L'internationale, Paris, Noesis, 1996
    • Que transmettre à nos enfants (with Philippe Jammet), Paris, Le Seuil, 2000
    • Les Tabous de l'histoire, Paris, Nil, 2002
    • Le Livre noir du colonialisme (director), Paris, Robert Laffont, 2003.[6]
    • Histoire de France, France Loisirs, 2002 (ISBN 978-2744151897)
    • Le choc de l'Islam, Paris, Odile Jacob, 2003
    • Le Cinéma, une vision de l'histoire, Paris, Le Chêne, 2003
    • Les Tabous de L'Histoire, Pocket vol. 11949, NiL Éditions, Paris, 2004
    • Les individus face aux crises du XXe siècle : L'Histoire anonyme, Paris, Odile Jacob, 2005
    • Le ressentiment dans l' histoire. Odile Jacob, 2007. English (2010): Resentment in HistoryISBN 978-0745646879 (paperback)
    • Ils étaient sept hommes en guerre : Histoire parallèle, Robert Laffont, Paris, 2007.
    • Autobiographie intellectuelle, Paris, Perrin, 2011
    • La Vérité sur la tragédie des Romanov, Paris, Taillandier, 2012.
    • Les Russes, l'esprit d'un peuple , Paris, Taillandier, 2017.
    • L'Entrée dans la vie, Paris, Tallandier, 2020
    法國碩國僅存的年鑑派歷史學大師馬克費侯過世了,1924-2021,非常高壽,他本身就是歷史與傳奇。我出版過他的兩本書,《世紀之謎》和〈歷史的盲目〉,深為他的視見著迷,第三本《歷史的詭計》翻譯中,但費侯已看不到中文版問世了,他的書至少後兩本都是全球華文獨家出版。照片中的費侯是任之當年到費侯家所拍,信函則是為允晨文化寫台灣版的序言原稿,如今都是珍貴的文獻,任之所藏。費侯是我所出版的當世史學巨擘之一,可惜無緣一見。只能翻起書回想這一路的出版因緣。再見了,費侯大師。
    iao和其他43人

    出典: フリー百科事典『ウィキペディア(Wikipedia)』

    ナビゲーションに移動検索に移動

    マルク・フェロー
    Marc Ferro
    マルク・フェロー、2012年
    人物情報
    生誕1924年12月24日(96歳)
    出身校グルノーブル大学フランス語版
    学問
    学派アナール学派
    研究分野歴史学
    研究機関社会科学高等研究院
    称号ボルドー大学名誉教授、チリ大学名誉教授
    主な受賞歴レジオンドヌール勲章シヴァリエ
    テンプレートを表示

    マルク・フェローMarc Ferro1924年12月24日 - )は、フランス歴史家ロシアソ連研究を専門としている。社会科学高等研究院教授。仏独共同出資のテレビ局アルテ」の番組制作にも数多く参加している。

    経歴[編集]

    パリに生まれる[1]グルノーブル大学フランス語版歴史学を学んだ後[1]、パリ、次いでアルジェリアオランリセで教壇に立ち[1]フランス国立科学研究所研究員を経て[1]、パリの社会科学高等研究院(EHESS)教授を務めており[2]歴史学映画を研究領域としている。1962年以降はフェルナン・ブローデルより『アナール』誌の編集事務責任者の地位を引き継ぎ、のちにその編集委員となった[3]

    専門はソ連史ロシア史および現代史であるが、歴史研究において映像資料となる映画の役割にも関心が深い。1999年にモスクワ大学、2003年にボルドー大学、2006年にチリ大学名誉教授の称号を受けた[4][5]

    2011年にレジオンドヌール勲章シュヴァリエ章を授与された[6]

    著書[編集]

    単著[編集]

    • 『新しい世界史 - 全世界で子供に歴史をどう語っているか』(Comment on raconte l'histoire aux enfants : à travers le monde entire、1981)大野一道訳、新評論、1985年10月、ISBN 4794822324、再版『新しい世界史 - 世界で子供たちに歴史はどう語られているか』大野一道訳、藤原書店、2001年5月、ISBN 4-89434-232-4
    • 『監視下の歴史 - 歴史学と歴史意識』(L'Histoire sous surveillance : science et conscience de l'histoire、1985)大野一道・山辺雅彦訳、新評論、1987年12月、ISBN 4794822405
    • 『植民地化の歴史 - 征服から独立まで(一三~ニ〇世紀)』(Histoire des colonisations : des conquêtes aux indépendances (xiiie – xxe siècles)、1994)片桐祐・佐野栄一訳、新評論、2017年
    • 『戦争を指導した七人の男たち - 並行する歴史(一九一八~四五年)』(Ils étaient sept hommes en guerre. Histoire parallèle、2007)小野潮訳、新評論、2015年

    共著[編集]

    ·《德斯坦回憶錄--政權與人生》(Valéry René Marie Georges Giscard d'Estaing, 1926~2020)。改革的竅門、訪托爾斯泰之墓......;《勃列日涅夫传》Leonid Ilyich Brezhnev 殭屍主義

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    ·《德斯坦回憶錄--政權與人生》(Valéry René Marie Georges Giscard d'Estaing, 1926~2020)。改革的竅門、訪托爾斯泰之墓......;《勃列日涅夫传》Leonid Ilyich Brezhnev 殭屍主義

    オルセー美術館が改名へ。故・ジスカールデスタン元大統領の ...
    https://bijutsutecho.com › magazine › news › headline

    2021/03/31 — パリを代表するふたつの美術館、オルセーとオランジュリーがともに改名し、昨年新型コロナウイルスのため94歳でこの世を去った第20代フランス大統領、ヴァレリー・ジスカールデスタンの名前を冠することになった。

    Mémoires[modifier | modifier le code]

    Entre 1988 et 2006, il publie en trois tomes ses mémoires, intitulés Le Pouvoir et la Vie et édités par sa fille Valérie-Anne.


    《德斯坦回憶錄--政權與人生》北京:世界知識出版社,1991。此書為三卷回憶錄之第一卷。

    Briefs
    Between 1988 and 2006, he published his memoirs in three volumes, entitled Le Pouvoir et la Vie and edited by his daughter Valérie-Anne.


    https://en.wikipedia.org/wiki/Val%C3%A9ry_Giscard_d%27Estaing
    「吉斯卡爾·德斯坦」為姓,「瓦萊里」為名。

    德斯坦因主持起草《歐盟憲法條約》,被譽為「歐盟憲法之父」[2]

    德斯坦作為經濟學家,著有多部著作,被譽為「現代歐元之父」[2]

    2003年,德斯坦被選為法蘭西學院院士[2]


    維基百科,自由的百科全書
    跳至導覽跳至搜尋
    瓦萊里·吉斯卡爾·德斯坦
    Valéry Giscard d'Estaing
    Valéry Giscard d'Estaing (1975).jpg
    法國 第20任法國總統
    安道爾 安道爾大公
    任期
    1974年5月27日-1981年5月21日
    總理賈克·席哈克(1974年-1976年)
    雷蒙·巴爾(1976年-1981年)
    前任喬治·龐畢度 (正任)
    阿蘭·波厄 (代理)
    繼任法蘭索瓦·密特朗
    個人資料
    出生1926年2月2日
    Flag of Germany (3-2 aspect ratio).svg 威瑪共和國科布倫茨
    逝世2020年12月2日(94歲)
     法國歐通
    政黨法國民主聯盟(1978年-2002年)
    人民運動聯盟(2002年-2004年)
    配偶Anne-Aymone Sauvage de Brantes
    母校巴黎綜合理工學院
    國家行政學院
    宗教信仰天主教
    中國大陸瓦萊里·吉斯卡爾·德斯坦[1]

    瓦萊里·勒內·馬里·喬治·吉斯卡爾·德斯坦[註 1](法語:Valéry René Marie Georges Giscard d'Estaing法語發音:[valeʁi maʁi ʁəne ʒɔʁʒ ʒiskaʁ dɛstɛ̃] 關於這個音頻文件 聆聽;1926年2月2日-2020年12月2日),法國經濟學家[2]政治家,前任法國總統安道爾大公。被譽為歐盟憲法之父、現代歐元之父[2]





























    中國作家的文章  自由地區的人可能不清楚  
    譬如說 講漢武帝的大家都知道指的是毛澤東 
    那麼此篇大概沒有意有所指

     勃列日涅夫與殭屍主義作者:英國《金融時報》中文網專欄作家連清川【作者微博】

    健忘恐怕是人類最頑固的症狀之一了。在伍迪•艾倫一部名為《愛與罪》的電影中,有一句極具哲學意味的台詞,大意是,人類似乎有一種特殊的本能,去忘卻令人悲傷的事實,並以此作為生存的手段。
    僅僅過了20年,我們都已經不大記得在世界上曾經存在過一個與美國分庭抗禮的大帝國:蘇聯。不僅僅在我們的生活中,這個過氣的名詞毫無意義;在90後的世界裡,恐怕是聞所未聞呢。當然,其實我們知道,它曾經如此緊密地和中國的歷史與現實息息相關,甚至,它是人民共和國得以締造的關鍵性因素之一。
    在那個國家裡,曾經有過一群叱吒風雲、揮斥方遒的帝王將相。不過,他們的名字在“現代”已經杳然無踪。連列寧、斯大林、赫魯曉夫、勃列日涅夫和戈爾巴喬夫都難得一見,更何況像托洛茨基、米高揚、朱可夫或者安德羅波夫這些人呢?
    歷史之涼薄,有時委實叫人感傷。
    在蘇聯的諸領袖之中,勃列日涅夫又總是被人遺忘。不過,在各種研究文獻中,勃列日涅夫時期卻算是整個蘇聯70多年曆史中最清明承平的時光:沒有大規模的屠殺和清洗,國民的生活顯著提高,國力強盛堪與美國相提並論,太空競賽令社會主義揚眉吐氣。 2011年12月出版的、中國社會科學院陸南泉研究院的著作《走近衰亡:蘇聯勃列日涅夫時期研究》卻要對此作一次“解毒”,明言這段時期,乃是令蘇聯在1991年分崩離析的致命時刻。勃列日涅夫可比明朝的萬曆皇帝。
    勃列日涅夫乃是在1964年10月蘇聯最高政治層面針對赫魯曉夫的“宮廷政變”中上台的。按照陸南泉的研究,他之所以能夠上台,恰恰因為他文化程度不高,性格並不突出,能夠平衡各方等因素所致。然而,這個“在權力鬥爭和安插幹部方面不用別人去教他的”庸人,卻在最高領袖寶座上一坐18年,一直到1982年死去。
    即便陸南泉已經做了提純,翻看這本書也是一個索然無味的過程。勃列日涅夫可以算作一個懶惰的領袖,在政治經濟上均無太大的動作,除了在第一個五年計劃中似乎曾經令人看到了改革的跡象之外,他的整個執政生涯無波無浪,既無斯大林殺人無算的鐵腕殘暴,亦無赫魯曉夫千奇百怪的政治丑劇,更無他的後任戈爾巴喬夫開啟“人道社會主義”的喜劇情形。應該說,在蘇聯的歷史上,把他看成一個“好人領袖”似乎不算太過分的評價,其實,當今的俄羅斯人甚至也是這麼看的。
    但恰恰是在這個時期裡,勃列日涅夫為蘇聯埋下了所有的禍根。在經濟上,勃列日涅夫經過短暫的振興之後,拒絕再對蘇聯的經濟政策做任何的變更,計劃經濟體制在他的手上殊無變化,而只是一味沿襲斯大林時期的政策,正如他自己所說的“改革,改革……誰還需要改革?”他認為蘇聯已經進入了“發達社會主義”階段,剩下的不過就是籌備共產主義而已。政治上,他雖然並不像斯大林那樣屠戮政治對手,但是也排擠流放了所有的政敵,成為集黨政軍三權於一身的名副其實的專制者,不但拒絕向民主變更,反而把乾部終身製、老年化當成維護政權穩定的不二法門;在外交上,他發動了兩場不折不扣的侵略戰爭,布拉格之春和入侵阿富汗,蘇聯成為純粹的霸權主義國家。
    《走近衰亡》除了陸南泉的研究之外,還收納了包括聞一、高放、秦曉等數位學者的見解。除了聞一之外,多數專家無不以為勃列日涅夫開啟了蘇聯的“衰亡世”。然而我卻懷有深刻疑問:若要言衰亡,必有興盛。蘇聯自立國之後列寧的短暫執政,其後便是斯大林的紅色恐怖,而後是赫魯曉夫的獨腳喜劇,再便是勃列日涅夫的殭屍政策,哪裡有過興盛時期?整個蘇聯的歷史,現如今看起來,都像是一個不可思議的人類悲劇集中表演,從何而談興盛?
    而勃列日涅夫時代,在我看起來,更為準確的表達,不過是蘇聯體制中固有的殭屍主義的複活劇而已。
    曾經擔任勃列日涅夫政策高參的阿爾巴托夫在蘇聯解體之後,出版過一本影響甚大的回憶錄《蘇聯政治內幕:知情者的見證》。陸南泉引用阿爾巴托夫的話說,1968年布拉格之春事件“在助長國內的保守趨勢中起到了重要作用,這種趨勢最終導致了一個停滯時期。”
    所謂的保守趨勢,也就是否定赫魯曉夫對於斯大林的否定,回到斯大林的趨勢,也就是我說的殭屍主義。我敢說,這幾乎就是勃列日涅夫以及蘇聯的命定軌道,也就是其後戈爾巴喬夫試圖另闢蹊徑進行開明改革所必然要經歷失敗的原因,也才是蘇聯未曾經歷興盛就已然衰亡的先天不足。
    所謂的殭屍主義,無非由三個層面構成:
    其一是拒絕改革的政經體制。在斯大林否定了列寧試圖挽回部分資本主義元素的新經濟政策之後,蘇聯就進入了計劃經濟體制。其本質就是後來勃列日涅夫一再強調的對市場經濟的批判。在政治上,元首獨攬、黨政一家乃是其本質特徵,所有在這個方面的變更企圖,都以被鎮壓而告終。
    其二是思維方式的保守與專制。在政治和文化思考上,在意識形態的控制上,在社會輿論的導引上,只能容許一種聲音的出現,任何其餘的聲響都被列入雜音,以破壞穩定為罪名,統統給予棒殺。民主乃敏感詞,無論在黨內還是黨外。既然思維方式只有一種,那麼與此不同的任何思維,社會事務也好、法律事務也好、環境事務也好、企業事務也好,一切事務都是政治事務,與統一聲音不協調的,就全是異議聲音,乃是“反黨反社會言論”,必得嚴懲。在書中所提到的“持不同政見者運動”,雖有多個分支,在勃列日涅夫政權那里便只有一個結果:封殺。
    其三是權貴階層的不斷擴張。維護穩定的價格就是給國家機器的維護人群以特殊的待遇——權勢名利。書中提到,斯大林時期享受各種特供、特權和特別待遇的人員,占到總人口的1.5%,而勃列日涅夫時期這一人數還在不斷擴大。他們乃是整個社會腐敗的基本元素,不僅僅因為他們享有與勞動不成比例的成果,而且破壞社會的體制和規則,使對於製度的尊重難以樹立。然而的確,就是他們依靠權力維持著國家的“穩定”,以保證勃列日涅夫與他們自己能夠永恆享受這般美好生活。
    許多人,包括本書的作者與專家,都似乎期望以蘇聯作為鏡鑑,警醒中國政治勿滑落蘇聯的陷阱。我卻以為不然,因為以勃列日涅夫的所作所為與蘇聯的發展歷程,並不能照進中國的現實。
    中國目前的發展,與勃列日涅夫時代幾乎走了一條相反的道路,在經濟上中國引進了市場製度,並且運行尚屬良好;在思維上,社會與民間的力量日益增強,倒逼政治層面不斷變化與開明。權貴階層儘管也大量存在,也是“社會穩定”的主要來源,但以官僚技術化為主要趨勢的製度確然已經形成。
    當然我並不以為中國已經擺脫了殭屍主義政治的幽靈,但是顯然蘇聯所提醒我們的恰恰不在於其零敲碎打的變革機巧,而是其整體崩潰的基本命運。戈爾巴喬夫的改革緣何失敗?在於殭屍主義的魂靈從斯大林遺留給赫魯曉夫,從赫魯曉夫再輸送給勃列日涅夫,它在蘇聯已經埋藏得太過於深厚,以至於每一個細小的變化,都足以撼動體制的根基。戈爾巴喬夫無路可走必須改,一改便是崩塌。
    中國已然行進到了現代社會的邊緣。市場的運行有其自然規則,必然需求政治體制與社會體制的適應性變更。比之蘇聯,中國已經建立起了基本轉化的條件,只是殭屍主義的魂靈卻不斷地循環往復,頑強而執著。
    回顧往事固然感傷,但看透本質卻是必然。群情洶湧的社會與殭屍主義的政治行將進入明晰的對抗,勃列日涅夫雖然說不上是什麼準確的前車之鑑,然而他所面臨與深化的痼疾,卻時刻都若隱若現地在中國的土地上浮沉。若以為他的衰亡不過是他自己的故事,那麼戈爾巴喬夫的悲劇就在前方等待。
    (本文僅​​代表作者本人觀點。 編輯:薛莉)





    勃列日涅夫传-作者:(俄)谢尔盖·谢曼诺夫|译者:孙静萱|校注:赵秋长
    说明:
    列昂尼德·伊里奇·勃列日涅夫前苏列昂尼德·伊里奇·勃列日涅夫联政治家,曾任苏联共产党中央第一书记,苏联最高苏维埃主席团主席和军队最高领导人。他在 任期间,苏联的军事力量大大增强,核武器的数量超过美国,成为军事上的超级大国,但是苏联国内的福利也有很大的发展。对外方面他注重外交,推行“有限主权 论”,声称当华沙条约成员国的社会主义政权受到威胁时,苏联可以进行武力干涉,此为臭名昭著的勃列日涅夫主义。他1968年派军队侵略捷克斯洛伐克。 1976年5月,他成为苏联元帅。1977年至1982年他去世前,任苏联最高苏维埃主席。1979年,由于阿富汗新政府取消了亲苏联的政策,他发动了阿 富汗战争,成为导致苏联衰落和最终解体的重要因素之一

    Leonid Brezhnev

    From Wikipedia, the free encyclopedia


    Leonid Ilyich Brezhnev
    Леонид Ильич Брежнев

    In office
    14 October 1964 – 10 November 1982
    PresidentNikolai Podgorny
    Anastas Mikoyan
    Himself
    Prime MinisterAlexei Kosygin
    Nikolai Tikhonov
    Preceded byNikita Khrushchev
    Succeeded byYuri Andropov

    In office
    7 May 1960 – 15 July 1964
    Preceded byKliment Voroshilov
    Succeeded byAnastas Mikoyan
    In office
    16 June 1977 – 10 November 1982
    Preceded byNikolai Podgorny
    Succeeded byVasily Kuznetsov (acting)

    Born19 December 1906(1906-12-19)
    Kamenskoe, Yekaterinoslav Governorate, Russian Empire
    Died10 November 1982 (aged 75)
    Moscow, Russian SFSR, Soviet Union
    NationalitySoviet
    EthnicityRussian-Ukrainian
    Political partyCommunist Party of the Soviet Union
    Spouse(s)Viktoria Brezhneva
    ProfessionMetallurgical Engineer, Civil servant
    Signature
    Military service
    AllegianceSoviet Union
    Service/branchGround Forces
    Years of service1941–1946
    RankMajor General
    CommandsSoviet Armed Forces
    Battles/warsWorld War II
    AwardsMarshal of the Soviet Union
    Gold Star
    Leonid Ilyich Brezhnev (Russian: About this soundЛеони́д Ильи́ч Бре́жнев​, December 19, 1906 – November 10, 1982) was the General Secretary of the Communist Party of the Soviet Union, presiding over the country from 1964 until his death in 1982. His eighteen year term as General Secretary was one of the lengthiest, second only to that of Joseph Stalin. During Brezhnev's rule, the global influence of the Soviet Union's grew dramatically, in part because of the expansion of the Soviet Military during this time. In 1979, the Soviet Union invaded Afghanistan to support the fragile Marxist government located there, a move condemned by the West. His tenure as leader has often been criticized for marking the beginning of a period of economic stagnation, overlooking serious economic problems which eventually led to the dissolution of the Soviet Union in 1991.
    Brezhnev was born in Kamenskoe into a Ukrainian workers family. After graduating from the Dniprodzerzhynsk Metallurgical Technicum he became a metallurgical engineer in the iron and steel industry in Ukraine. He joined Komsomol in 1923 and, in 1929, joined the Communist Party of the Soviet Union, playing an active role in the party's affairs. In 1936, he was drafted into compulsory military service and later became a political commissar in a tank factory. In 1939, he was promoted Party Secretary of Dnipropetrovsk, an important military industrial complex. When Nazi Germanyinvaded the Soviet Union in 1941, he was drafted into immediate military service. During his service, he met Nikita Khrushchev whom he would later succeed as General Secretary. He left the army in 1946 with the rank of Major General and was subsequently promoted to First Secretary of the Communist Party in Dnipropetrovsk.
    In 1950, he became deputy of the Supreme Soviet of the Soviet Union, the highest legislative body in the country, and in 1952 became a member of the Central Committee. Brezhnev was appointed to the Presidium (formerly the Politburo) soon after. He became a Khrushchev protégé in government, but eventually orchestrated his overthrow and replaced him as General Secretary in 1964.
    As a leader, Brezhnev was a team player, and took care to consult his colleagues before acting, but his attempt to govern without meaningful economic reforms led to a national decline by the mid-1970s. His rule marked by what later became known as the Brezhnev stagnation. A significant increase in military expenditures which by the time of Brezhnev's death stood at approximately 15 percent of the country's GNP, and an increasingly elderly and ineffective leadership set the stage for a dwindling GNP compared to Western nations. It was during this time that the full extent of government corruption became known, but Brezhnev refused to launch any major corruption investigations, claiming that no one lived just on their wages. On November 10, 1982, an ill Brezhnev died, and was quickly succeeded in his post as General Secretary by Yuri Andropov.
    While at the helm of the USSR, Brezhnev pushed for détente between the Eastern and Western countries. Brezhnev engaged in increased international trade with non-communist countries, most notably the United States. However, his view on tackling the reformist movement was not flexible, and in 1968 the USSR along with members states of the Warsaw Pactinvaded Czechoslovakia. In the invasion's aftermath, the Soviet Union strengthened its hold on Eastern Europe and became tougher in its diplomatic relations abroad, particularly with Third World countries. His last major decision in power was to send Soviet military to Afghanistan in an attempt to save the fragile regime which fought a war against religious extremists.
    Brezhnev fostered a cult of personality, although not on the same level seen under Stalin. After his death the next leader of the USSR, Mikhail Gorbachev, denounced his legacy and drove the process of liberalization of the Soviet Union.

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    [edit]Early life and career

    [edit]Early years

    Brezhnev was born on December 19, 1906, in Kamenskoe (now Dniprodzerzhynsk in Ukraine), to metalworker Ilya Yakovlevich Brezhnev and his wife, Natalia Denisovna. At different times during his life, Brezhnev specified his ethnic origin alternately as either Ukrainian or Russian, opting for the latter as he rose within the Communist Party.[1] Like many youths in the years after the Russian Revolution of 1917, he received a technical education, at first in land management where he started as a land surveyor and then in metallurgy. He graduated from the Dniprodzerzhynsk Metallurgical Technicum in 1935[2] and became a metallurgical engineer in the iron and steel industries of eastern Ukraine. He joined the Communist Party youth organization, the Komsomol in 1923 and the Party itself in 1929.[1]
    In the years 1935 through 1936, Brezhnev was drafted for compulsory military service, and after taking courses at a tank school, he served as a political commissar in a tank factory. Later in 1936, he became director of the Dniprodzerzhynsk Metallurgical Technicum (technical college). In 1936, he was transferred to the regional center of Dnipropetrovsk and, in 1939, he became Party Secretary in Dnipropetrovsk,[2] in charge of the city's important defense industries. As one who survived Stalin's Great Purge of 1937–39, he could gain rapid promotions since the purges opened up many positions in the senior and middle ranks of the Party and state.[1]

    [edit]Military service and early career


    A photo of Brezhnev taken in 1936.
    Nazi Germanyinvaded the Soviet Union in June 1941, and like most middle-ranking Party officials, Brezhnev was immediately drafted. He worked to evacuate Dnipropetrovsk's industries to the east of the Soviet Union before the city fell to the Germans on 26 August and then was assigned as a political commissar. In October, Brezhnev was made deputy of political administration for the Southern Front, with the rank of Brigade-Commissar.[3] When Ukraine was occupied by the Germans in 1942, Brezhnev was sent to the Caucasus as deputy head of political administration of the Transcaucasian Front. In April 1943, he became head of the Political Department of the 18th Army. Later that year, the 18th Army became part of the 1st Ukrainian Front, as the Red Army regained the initiative and advanced westwards through Ukraine.[4] The Front's senior political commissar was Nikita Khrushchev, who became an important patron of Brezhnev's career. Brezhnev had met Khrushchev in 1931, shortly after joining the party, and before long he became Khrushchev's protégé as he continued his rise through the ranks.[5] At the end of the war in Europe, Brezhnev was chief political commissar of the 4th Ukrainian Front which entered Prague after the German surrender.[3]

    Brezhnev (right) as a political commissar in the Great Patriotic War
    Brezhnev left the Soviet Army with the rank of Major General in August 1946. He had spent the entire war as a commissar rather than a military commander.[6] After working on reconstruction projects in Ukraine he again became First Secretary in Dnipropetrovsk.[6] In 1950, he became a deputy of the Supreme Soviet of the Soviet Union, the Soviet Union's highest legislative body. Later that year he was appointed Party First Secretary in Moldavia.[6] In 1952, he became a member of the Communist Party's Central Committee and was introduced as a candidate member into the Presidium (formerly the Politburo).[7]
    Stalin died in March 1953, and in the reorganization that followed the Presidium was abolished and a smaller Politburo reconstituted. Although Brezhnev was not made a Politburo member, he was appointed head of the Political Directorate of the Army and the Navy with rank of Lieutenant-General, a very senior position. This was probably due to the new power of his patron Khrushchev, who had succeeded Stalin as Party General Secretary. On 7 May 1955, he was made Party First Secretary of the Communist Party of the Kazakh SSR. His brief was simple; to make the new lands agriculturally productive; with this directive, he started the initially successful Virgin Lands Campaign. Brezhnev was lucky that he was re-called in 1956; the harvest in the following years proved to be disappointing and would have hurt his political career if he'd stayed.[6]
    In February 1956, Brezhnev returned to Moscow, promoted to candidate member of the Politburo and assigned control of the defense industry, the space program, heavy industry, and capital construction.[8] He was now a senior member of Khrushchev's entourage, and in June 1957, he backed Khrushchev in his struggle with the Stalinist old guard in the Party leadership, the so-called "Anti-Party Group". Following the defeat of the old guard, Brezhnev became a full member of the Politburo. Brezhnev became Second Secretary of the Central Committee in 1959,[6] and in May 1960 was promoted to the post of Chairman of the Presidium of the Supreme Soviet,[9] making him nominal head of state although the real power resided with Khrushchev as Party Secretary. In 1962, Brezhnev became an honorary citizen of Belgrade.[10]

    [edit]Removal of Khrushchev

    A portrait shot of an older, bald man with  bifocal glasses. He is wearing a blazer over a collared shirt and tie.  In his hands, he is holding a set of papers.
    Khrushchev as seen in 1963, one year before his ousting
    Until about 1962, Khrushchev's position as Party leader was secure; but as the leader aged, he grew more erratic and his performance undermined the confidence of his fellow leaders. The Soviet Union's mounting economic problems also increased the pressure on Khrushchev's leadership. Outwardly, Brezhnev remained loyal to Khrushchev,[11] but he became involved in a 1963 plot to remove the leader from power, possibly playing a leading role.[11] In 1963 also, Brezhnev succeeded Frol Kozlov, another Khrushchev protege, as Secretary of the Central Committee, positioning him as Khrushchev's likely successor.[11] Khrushchev made him deputy party leader in 1964.[11]
    After returning from Scandinavia and Czechoslovakia, sensing nothing afoot, Khrushchev went on holiday in Pitsunda, near the Black Sea in October 1964. Upon his return, his Presidium officers congratulated him for his work in office. Anastas Mikoyan visited Khrushchev, hinting that he should not be too complacent about his present situation. Vladimir Semichastny, head of the KGB,[12] was a crucial part of the conspiracy, as it was his duty to inform Khrushchev if anyone was plotting against his leadership. Nikolay Ignatov, who had been sacked by Khrushchev, discreetly requested the opinion of several Central Committee members. After some false starts, fellow conspirator Mikhail Suslov phoned Khrushchev on October 12 and requested that he return to Moscow to discuss the state of Soviet agriculture. Eventually Khrushchev understood what was happening, and said to Mikoyan, "If it's me who is the question, I won't make a fight of it".[13] While a minority headed by Mikoyan wanted to remove Khrushchev from the office of First Secretary but retain him as the Chairman of the Council of Ministers, the majority headed by Brezhnev wanted to remove him from active politics.[13]
    Brezhnev and Nikolay Podgorny appealed to the Central Committee, blaming Khrushchev for economic failures, and accusing him of voluntarism and immodest behavior. Influenced by the Brezhnev allies, Politburo members voted to remove Khrushchev from office.[14] In addition, some members of the Central Committee wanted him to undergo punishment of some kind. But Brezhnev, who had already been assured the office of the General Secretary, saw little reason to punish his old mentor further.[15] Brezhnev was appointed Party First Secretary; Alexey Kosygin was appointed head of government, and Mikoyan became head of state.[16] Brezhnev and his companions supported the general party line taken after Joseph Stalin's death, but felt the Khrushchev reforms had removed much of the Soviet Union's stability. One of the main reasons for Khrushchev's ouster was that he continuously overruled other party members. Pravda, a newspaper in the Soviet Union, wrote of new enduring themes such as collective leadership, scientific planning, consultation with experts, organizational regularity and the ending of schemes. When Khrushchev left the public spot light, there was no popular commotion because most Soviet citizens, including the intelligentsia, anticipated a period of stabilization, steady development of Soviet society and continuing economic growth in the years to come.[15]

    [edit]Leader (1964–82)

    [edit]Consolidation of power

    Early policy reforms were seen as predictable. In 1964, the plenum of the Central Committee forbade any single individual to hold the two most powerful posts of the country (the office of the General Secretary and the Premier).[15] Former Head of the KGB Alexander Shelepin disliked the new collective leadership reform started under Brezhnev. He made a bid for the supreme leadership in 1965 by calling for restoration of "obedience and order". Shelepin failed to gather support in the Presidium and Brezhnev's position was fairly secure; however, he was not able to remove Shelepin from office until 1967.[17]
    Khrushchev was removed mainly because of his disregard for collective leadership. Throughout the Brezhnev era, the Soviet Union was controlled by a collective leadership, at least through the late 1960s and 1970s. The consensus within the party was that the collective leadership prevailed over the supreme leadership of one individual. T.H. Rigby argued that by the end of the 1960s, a stable oligarchic system had emerged in the Soviet Union, with most power vested around Brezhnev, Kosygin and Podgorny. While the assessment was true at the time, it coincided with Brezhnev's strengthening of power by means of an apparent clash with Central Committee Secretariat Mikhail Suslov.[1] American Henry A. Kissinger, in the 1960s, mistakenly believed Kosygin to be the dominant leader of Soviet foreign policy in the Politburo. During this period, Brezhnev was gathering enough support to strengthen his position within Soviet politics. In the meantime, Kosygin was in charge of economic administration in his role as Chairman of the Council of Ministers. However Kosygin's position was weakened when he proposed an economic reform in 1965, which was widely referred to as the "Kosygin reform" within the Communist Party. The reform led to a backlash, with Kosygin losing supporters because of the increasingly anti-reformist stance of many top officials because of the Prague Spring in 1968. His opponents then flocked to Brezhnev, and they happily helped him in his task of strengthening his position within the Soviet system.[18]
    Brezhnev was adept at the politics within the Soviet power structure. He was a team player and never acted rashly or hastily; unlike Khrushchev, he did not make decisions without substantial consultation with his colleagues, and was always willing to hear their opinions.[19] During the early 1970s, Brezhnev consolidated his domestic position. In 1977, he forced the retirement of Podgorny and became once again Chairman of the Presidium of the Supreme Soviet of the Soviet Union, making this position equivalent to that of an executive president. While Kosygin remained Premier until shortly before his death in 1980, Brezhnev was the dominant driving force of the Soviet Union from the mid-1970s[20] to his death in 1982.[18]

    [edit]Repression

    Brezhnev 's stabilization policy included ending the liberalizing reforms of Khrushchev, and clamping down on cultural freedom.[21] During the Khrushchev years Brezhnev had supported the leader's denunciations of Stalin's arbitrary rule, the rehabilitation of many of the victims of Stalin's purges, and the cautious liberalization of Soviet intellectual and cultural policy. But as soon as he became leader, Brezhnev began to reverse this process, and developed an increasingly conservative and regressive attitude.[22][23]
    The trial of the writers Yuli Daniel and Andrei Sinyavsky in 1966—the first such trials since Stalin's day—marked the reversion to a repressive cultural policy.[22] Under Yuri Andropov the state security service (the KGB) regained much of the power it had enjoyed under Stalin, although there was no return to the purges of the 1930s and 1940s,[24] and Stalin's legacy remained largely discredited among the Soviet intelligentsia. On 22 January 1969, a Soviet Army officer, Viktor Ilyin, tried to assassinate Brezhnev and was diagnosed with mental illness and placed in solitary confinement in a psychiatric hospital.[25] By the mid-1970s, there were an estimated 10,000 political and religious prisoners across the Soviet Union, living in grievous conditions and suffering from malnutrition; many of these prisoners were considered by the Soviet state to be mentally unfit and were hospitalized in mental asylums across the Soviet Union. The KGB infiltrated most if not all anti-government organizations under Brezhnev's rule, which ensured that there was little to no opposition against him or his power base. Brezhnev did however refrain from the all-out violence seen under the rule of Stalin.[24]

    [edit]Domestic policies

    [edit]Economics

    [edit]Economic growth until 1973
    PeriodGNP
    (according to
    the CIA)
    GNP
    (according to
    Grigorii Khanin)
    GNP
    (according to
    the USSR)
    1960–19654.8[26]4.4[26]6.5[26]
    1965–19704.9[26]4.1[26]7.7[26]
    1970–19753.0[26]3.2[26]5.7[26]
    1975–19801.9[26]1.0[26]4.2[26]
    1980–19851.8[26]0.6[26]3.5[26]
    Between the 1960 and 1970, Soviet agriculture output increased by 3 percent annually. Industry also improved, with the Eighth Five-Years Plan (1966–1970) showing the output of factories and mines increased their output by 138 percent, compared to 1960. While the politburo became aggressively anti-reformist, Kosygin was able to convince both Brezhnev and the politburo to leave the reformist communist leader János Kádár of Socialist Hungary alone because of a major economic reform titled New Economic Mechanism (NEM), which granted limited permission for the creation of retail markets in the country.[27] In Socialist Poland, another approach was taken in 1970 under the leadership of Edward Gierek who believed that the government needed Western loans to facilitate the rapid growth of heavy industry. The Soviet leadership gave its approval for this, as the Soviet Union could not afford to maintain its massive subsidy for the Eastern Bloc in the form of cheap oil and gas exports. However, the Soviet Union did not accept all kinds of reforms, and with the Politburo's approval, Brezhnev gathered the military of the Warsaw Pact to invade Czechoslovakia in 1968.[28] Under Brezhnev, the Politburo abandoned the decentralization experiments of Khrushchev. By 1966, two years after taking power, Brezhnev abolished the Regional Economic Councils, which were organized to manage the regional economies of the Soviet Union.[29]
    The Ninth Five-Years Plan delivered a change: for the first time industrial consumer products out-produced industrial capital goods. Consumer goods such as watches, furniture and radios were produced in abundance. However, the Plan still left the bulk of state's investment in industrial capital-goods production. This outcome was not seen as a positive sign for the future of the Soviet state by the majority of top party functionaries within the government; by 1975 consumer goods expanded 9 percent slower than industrial capital-goods. The policy continued despite Brezhnev's reaffirmation of his commitment for the rapid shift of investment which would satisfy Soviet consumers and lead to a higher standard of living. This did not happen.[30]
    From 1928-1973, the Soviet Union was growing economically at a phase that would eventually catch up with the United States and Western Europe. This was true despite the advantage the United States had—the USSR was hampered by Joseph Stalin's bold policy of collectivization and the effects of the Second World War which had left most of Western USSR in ruins. In 1973, the process of catching up with the rest of the West came to an abrupt end, with this year being seen by some scholars as the start of the Brezhnev stagnation. The beginning of the stagnation coincided with a financial crisis in Western Europe and the US.[31] By the early 1970s, the Soviet Union had the world's second largest industrial capacity and produced more steel, oil, pig-iron, cement and tractors than any other country.[32] Before 1973, the Soviet economy was expanding at a rate faster, by a small margin, than that of the United States. The USSR also kept a steady pace with the economies of Western Europe. Between 1964-1973, the Soviet economy stood at roughly half the output per head of Western Europe and a little more than one third that of the US.[33]
    [edit]Agricultural policy
    The agricultural policy of Brezhnev reinforced the conventional methods for organizing the collective farms. The central imposition of quotas of output was maintained.[34] Khrushchev's policy of amalgamating farms was prolonged by Brezhnev, because he shared the same belief as Khrushchev that bigger kolkhozes would increase productivity. Brezhnev pushed for an increase in state investments in farming, which mounted to an all-time high in the 1970s to 27 percent of all state investement – this figure did not include investments in farm equipment. In 1981 alone, 33,000 million American dollars (by contemporary exchange rate) was invested into agriculture.[35]
    Gross agricultural output by 1980 was 21 percent higher than the average production rate between 1966–1970. Cereal crop output increased by 18 percent. However, improved results were not encouraging. The usual criterion for assessing agriculture output in the Soviet Union was the grain harvest. In fact, cereal importation had become a regular phenomenon. When Brezhnev had difficulties sealing commercial trade agreements with the United States, he went elsewhere, such as to Argentina. Trade was necessary because the Soviet Union's domestic production of fodder crops was severely deficient. Another sector which met with mounting problems was the sugar beet harvest which declined by 2 percent in the 1970s.[35] Brezhnev's way of resolving this was to increase state investment. Politburo member G.I. Voronov had advocated for several years the division of each farm's work-force into what he called "links". These "links" would be entrusted with specific functions, such as to run a farm's dairy unit. His argument was that the larger the work force, the less responsible they felt.[35] This proposal however had already been turned down by Joseph Stalin in the 1940s, and been opposed by Khrushchev before and after Stalin's death. Voronov was also unsuccessful; Brezhnev turned him down, and in 1973 he was removed from the Politburo.[36]
    Experimentation with "links" was not disallowed on a local basis, with the young Stavropol Region Party Secretary Mikhail Gorbachev experimenting with links in his area. In the meantime, central management of agriculture was otherwise "unimaginative"[36] and "incompetent"[36]. Facing mounting agricultural problems, the Politburo issued a resolution entitled; "On the Further Development of Specialization and Concentration of Agricultural Production on the Basis of Inter-Farm Co-operation and Agro-Industrial Integration". The resolution called for several kolkhozes in a given district to combine their objectives in production. In the meantime, the state's food-and-agriculture subsidy did not prevent many farms from operating at a loss: rises in the price of produce were offset by rises in the cost of oil and other resources. By 1977, oil cost 84 percent more than it did in the late 1960s. The cost of other resources had also climbed by the late 1970s.[36]
    Brezhnev's answer to these problems was to issue two decrees, one in 1977 and one in 1981, which called for the expansion of all plots owned by the Soviet Union to half a hectare. These measures removed a large obstacles for the expansion of Soviet agricultural output. Under Brezhnev, private plots yielded 30 percent of the national agricultural production when they only cultivated four percent of agriculture in the Soviet Union. This was seen by some as proof that de-collectivization was necessary if Soviet agriculture was ever going to expand. On the other hand, leading politicians in the Soviet Union withheld from such drastic measures mainly because of ideological and political interests.[36] The underlying problems were the growing shortage of skilled labourers, a wrecked rural culture, the payment of workers in proportion to the quantity and not the quality of their work performance, farm machinery too large for the small collective farms and the road-less countryside. In the face of this, Brezhnev could only propose schemes such as large reclamation and irrigation projects.[37]
    [edit]Economic stagnation
    The Brezhnev stagnation, a term coined by Mikhail Gorbachev, was seen as the result of a compilation of factors, including the ongoing "arms race" between the two superpowers, the Soviet Union and the United States, the decision of the Soviet Union to participate in international trade (thus abandoning idea of economic isolation) while ignoring the changes occurring in Western societies, increasing harshness such as Soviet tanks rolling in to crush the Prague Spring in 1968, the invasion of Afganistan, the stifling bureaucracy overseen by a cadre of increasingly elderly men running the country, the political corruption, supply bottlenecks, and other unaddressed structural problems with the economy under Brezhnev's rule.[38] Social stagnation domestically was stimulated by the growing demands of unskilled workers, labour shortages and a decline in productivity and labour discipline. While Brezhnev, albeit "sporadically",[23] attempted to reform the economy in the late 1960s and 1970s, he ultimately failed to produce any positive results. One of these reforms was the reorganization of the Council of Ministries; this led to low unemployment at the price of low productivity[23] and technological stagnation.[39] The economic reform of 1965 was initiated by Aleksei Kosygin, but its origin dates back to Nikita Khrushchev. The Central Committee was not willing to go through with the reform, while at the same time it admitted to economic problems.[40]

    The Mirspace station was built during the Brezhnev stagnation
    In 1973, the Soviet economy slowed down and started to lag behind that of the West because of enormous expenditure on the armed forces and too little spending on light industry and consumer goods. Soviet agriculture could not feed the urban population, let alone provide for the rising standard of living which the government promised as the fruits of "mature socialism", and on which industrial productivity depended. One of the most prominent critics of Brezhnev's economical policies was Mikhail Gorbachev who, when leader, called the economy under Brezhnev's rule "the lowest stage of socialism".[41]
    With the GNP growth of the Soviet economy drastically decreasing from the level it held in the 1950s and 1960s, the country began to lag behind Western Europe and the United States. The GNP was slowing down to 1 to 2 percent each year, and with the technology falling farther and farther behind that of the West, the Soviet Union was facing economic stagnation by the early 1980s.[42] During Brezhnev's last years of reign, the CIA monitored the Soviet Union's economic growth, and reported that the Soviet economy peaked in the 1970s, calculating that it had reached 57 percent of the American GNP. However, the development gap between the two nations widened, with the United States growing an average of one percent over the Soviet Union.[43]
    The Eleventh Five-Year Plan of the Soviet Union delivered a disappointing result: a change in growth from 4 to 5 percent. During the earlier Tenth Five-Year Plan, they had tried to meet the target of 6.1 percent of growth but failed. Brezhnev was able to defer the economic collapse by trading with Western Europe and the Arab World.[43] However, the Soviet Union out-produced the United States in heavy industry during the Brezhnev era. One more galling result of Brezhnev's rule was that some of the Eastern Bloc economies were more advanced than the Soviet Union.[44]

    [edit]Soviet society


    Brezhnev during his visit to the United States in June 1973
    [edit]Early changes
    Before 1973, the GDP per head in US dollars increased.[45] Over the eighteen years Brezhnev ruled the Soviet Union, average income per head increased by half; however three-quarters of this growth came in the 1960s and early 1970s. There was one-quarter average income per head growth during the second half of Brezhnev's reign.[31] In the first half of the Brezhnev period, income per head increased by 3.5 percent per annum; slightly less growth than what it had been the previous years. This can be explained by the reversion of most of Khrushchev's policies when Brezhnev came to power.[33] The consumption per head rose by an estimate of 70% under Brezhnev, but with three-quarters of this growth happening before 1973 and only one-quarter in the second half of his reign.[46]
    [edit]Social stagnation
    At a time when the Soviet economy was in a downward spiral, the standard of living and housing quality improved significantly.[47] Instead of improving the economy, Brezhnev tried to improve the standard of living in the Soviet Union by extending social benefits, which led to minor increases in public support.[41] The living standard in Soviet Russia had fallen behind that of Soviet Georgia and Estonia under Brezhnev; this led many Russians to believe that Soviet government policies had injured the Russian population.[48] With the mounting economic problems, skilled workers still had to be paid more than had been intended, with unskilled labourers having to be indulged regarding punctuality, conscientiousness and sobriety. The state usually moved workers from one job to another which ultimately became an ineradicable feature in Soviet industry;[49] the absence of unemployment in the Soviet Union led to the state having no serious counter-measures. Government industries such as factories, mines and offices were staffed by salaried and waged personnel who put a great effort in not doing their jobs; this ultimately led to a "work-shy workforce" among Soviet workers and administrators.[50]
    During the Brezhnev Era there were material improvements for the Soviet citizen, while the Politburo of the CPSU was given no credit for this. The material improvements in the 1970s, the cheap provision of consumer goods, food, shelter, clothing, sanitation, health care and transport was taken for granted by the Soviet citizen. The common Soviet citizen associated Brezhnev's rule more for its limitation than its actual progress; this led to Brezhnev's earning neither affection nor respect. With most Soviet citizens trying to make the best of a bad situation, rates of alcoholism, mental illness, divorce and suicide rose inexorably.[50] While investments in consumer goods fell below projections, the expansion in output led to an increase in livings conditions for the ordinary Soviet civilian. Refrigerators, owned by only 32 percent of the population in the early 1970s, had grown considerably to a total of 86 percent by the late 1980s, and the ownership of colour televisions increased from 51 percent in the early 1970s to 74 percent in the 1980s. The material improvements of blue-collar workers had risen disproportionately; they had higher wages than any professional work group in the Soviet Union. For example, the wage of a secondary school teacher in the Soviet Union was only 150 rubles while a bus driver's wage was 230.[51]
    While some areas improved during the Brezhnev era, the majority of civilian services deteriorated, with the physical environment for the common Soviet citizen falling apart rapidly. Diseases were on the rise[50] because of the decaying healthcare system. The living space remained rather small by western standards, with the common Soviet living on 13.4 square metres. At the same time thousands of Moscow inhabitants were homeless, most of them living in shacks, doorways and parked trams. Nutrition ceased to improve in the late 1970s, while rationing of staple food products returned to such cities as Sverdlovsk.[52]
    The state provided several institutions for daily recreation and annual holidays. Soviet trade unions rewarded hard-working members and their families with beach vacations in Crimea and Georgia. Workers who fulfilled the monthly production quota set by the Soviet government were honoured by placing their respective names on the Roll of Honour; the state in the meantime continued to award badges for all manner of public services, with be-medalled war veterans being allowed to go to the head of the queues in shops. Members of the USSR Academy of Sciences had their own special badge and were each provided with a chauffeur-driven car. The hierarchy of honour and privilege in Soviet society paralleled the hierarchy of job occupations. There was a large enough minority of citizens during the Brezhnev era who benefited from these perks. These perks did however not stop the degeneration of Soviet society. Urbanization had led to unemployment in the Soviet agriculture sector, with most of the able workforce leaving villages for the local towns.[53]
    Another mounting problem in Brezhnev's Soviet Union was the reduction of the well-educated Soviet labour force. During the Stalin era in the 1930s and 1940s, a common labourer could expect promotion to a white-collar job if they studied and obeyed Soviet authorities. In Brezhnev's Soviet this was not the case. Holders of attractive offices clung to them as long as possible and mere incompetence was never seen as a good reason to dismiss anyone. Social "rigidification" became a common feature in Soviet society,[54] in many ways the Soviet society Brezhnev handed to his successor had become "static".[55]

    [edit]Foreign and defense policies

    [edit]The United States and the third world

    During his eighteen years as Leader of the USSR, Brezhnev's only major foreign policy innovation was the inclusion of détente. However, it did not differ much from the Khrushchev Thaw, a domestic and foreign policy started by Nikita Khrushchev. Historian Robert Service sees détente simply as a continuation of Khrushchnev's foreign policy. Despite an increasing tension in East-West relations under Khrushchnev, relations had generally improved, as evidenced by the Partial Test Ban Treaty, Helsinki Accords and the installation of the telephone line between the White House and the Kremlin. Brezhnev's détente policy differed from that of Khrushchnev in two ways. The first was that it was more comprehensive and wide-ranging in its aims, and included signing agreements on arms control, crisis prevention, East-West trade, European security, and human rights. The second part of the policy built on the importance of equalizing the military strength of the United States and the Soviet Union. Defence spending under Brezhnev between 1965–1970 increased by 40 percent, and annual increases continued thereafter. Fifteen percent of GNP was spent on the military by the time of Brezhnev's death in 1982.[56]

    Gerald Ford and Brezhnev meeting in Vladivostok, November, 1974
    Under Brezhnev, relations with China continued to deteriorate, following the Sino-Soviet split of the early 1960s.[57] In 1969, Soviet and Chinese troops fought a series of clashes along their border on the Ussuri River.[58] The thawing of Sino-American relations beginning in 1971, however, marked a new phase in international relations. To prevent the formation of an anti-Soviet U.S.-China alliance, Brezhnev opened a new round of negotiations with the U.S. In May 1972, President Richard Nixon visited Moscow, and the two leaders signed the SALT I, marking the beginning of the "détente" era.[59]

    Brezhnev and Ford are signing joint communiqué on the SALT treaty in Vladivostok
    By the mid 1970s, it had become clear that Kissinger's policy of détente towards the Soviet Union had failed. The détente had rested on the assumption that a "linkage" of some type could be found between the two countries, with the US hoping that the signing of SALT I and a increase in Soviet-US trade would stop the aggressive growth of communism in the third world. This did not happen and the Soviet Union started funding the communist guerillas who fought actively against the US during the Vietnam War. The US lost the Vietnam War and at the same time lost many countries to communism in Asia.[60] After Gerald Ford lost the presidential election to Jimmy Carter,[61] American foreign policies became more hostile towards the Soviet Union and the communist world; while at the same time aiming to stop funding for some repressive anti-communist governments the United States supported.[62] While at first standing for a decrease in all defence initiatives, the later years of Carter's presidency would increase spending on the US military.[61]
    In the 1970s, the Soviet Union reached the peak of its political and strategic power in relation to the United States. The first SALT Treaty effectively established parity in nuclear weapons between the two superpowers,[63] the Helsinki Treaty legitimized Soviet hegemony over Eastern Europe,[64] and the United States defeat in Vietnam and the Watergate scandal weakened the prestige of the United States. The Soviet Union extended its diplomatic and political influence in the Middle East and Africa.[65]

    Carter and Brezhnev sign the SALT II treaty, 18 June 1979, in Vienna
    After the communist revolution in Afghanistan in 1978, the Afghan civil war started mainly because of authoritarian actions forced upon the populace.[66] With a KGB report claiming that Afghanistan could be taken in a matter of weeks, Brezhnev and several top party officers agreed to full intervention in Afghanistan in the worry that the Soviet Union was losing their influence in Central Asia. Parts of the Soviet military were against full engagement in the country, claiming that the Soviet Union should leave Afghan politics alone.[62] President Carter, following the advice of his National Security AdvisorZbigniew Brzezinski, denounced the invasion describing it as the "most serious danger to peace since 1945". The US stopped all grain export to the Soviet Union and persuaded US athletes not to enter the 1980 Summer Olympics held in Moscow. The Soviet Union responded by boycotting the 1984 Summer Olympics held in Los Angeles.[62]

    [edit]Eastern Europe

    The first crisis of Brezhnev's regime came in 1968, with the attempt by the Communist leadership in Czechoslovakia, under Alexander Dubček, to liberalize the Communist system (Prague Spring).[67] In July, Brezhnev publicly criticized the Czech leadership as "revisionist" and "anti-Soviet", and in August he orchestrated the Warsaw Pactinvasion of Czechoslovakia, and Dubček's removal. The invasion led to public protests by dissidents in various Eastern Bloc countries. Brezhnev's assertion that the Soviet Union had the right to interfere in the internal affairs of its satellites to "safeguard socialism" became known as the Brezhnev Doctrine,[68] although it was really a restatement of existing Soviet policy, as Khrushchev had shown in Hungary in 1956. In the aftermath of the invasion, Brezhnev reiterated it in a speech at the Fifth Congress of the Polish United Workers' Party on November 13, 1968:[67]
    When forces that are hostile to socialism try to turn the development of some socialist country towards capitalism, it becomes not only a problem of the country concerned, but a common problem and concern of all socialist countries.
    —Brezhnev, Speech to the Fifth Congress of the Polish United Workers' Party in November, 1968

    A stamp showing Brezhnev and Erich Honecker shaking hands
    Brezhnev was not the one pushing hardest for the use of military force when discussing the situation in Czechoslovakia with the Politburo.[69] Brezhnev was aware of the dire situation he was in, and if he had abstained or voted against Soviet intervention in Czechoslovakia he may have been faced with growing turmoil — domestically and in the Eastern Bloc.[70] Archival evidence suggests that Brezhnev[69] was one of the few who was looking for a temporary compromise with the reform-friendly Czechoslovak government when their relationship was at its brinking point. Significant voices in the Soviet leadership demanded the re-installation of a so-called 'revolutionary government'. After the military intervention in 1968, Brezhnev met with Czechoslovak reformer Bohumil Simon, then a member of the Politburo of the Czechoslovak Communist Party, and said; "If I had not voted for Soviet armed assistance to Czechoslovakia you would not be sitting here today, but quite possibly i wouldn't either".[69]
    In the early 1980s a political crisis emerged in Poland with the emergence of the Solidarity mass movement. By the end of October Solidary had 3 million members, and by December 9 million. In a public opinion poll done by the Polish government, 89% of the respondents supported Solidarity.[71] With the Polish leadership split on what to do, the majority of did not want to impose martial law, as suggested by Wojciech Jaruzelski. The Soviet Union and the Eastern Bloc was unsure how to handle the situation, but Erich Honecker of East Germany pressed for military action. In a formal letter to Brezhnev Honecker proposed a joint military measure to control the escalating problems in Poland. A CIA report suggested the Soviet military were mobilizing for an invasion.[72]
    In 1980 representatives from the Eastern Bloc nations met at the Kremlin to discusse the Polish situation. Brezhnev eventually concluded that it would be better to leave the domestic matters of Poland alone for the time being, re-assuring the Polish delegates that the USSR would intervene only if asked to.[73] With domestic matters escalating out of control in Poland, Wojciech Jaruzelski imposed state of war, the Polish version of martial law, on 12 December 1981.[74]

    [edit]Last years and death

    The last years of Brezhnev's rule were marked by a growing personality cult. He was well known for his love of medals (he received over 200), so in December 1966, for his 60th birthday, he was awarded the Hero of the Soviet Union. Brezhnev received the award, which came with the order of Lenin and the Gold Star, three more times in celebration of his birthdays.[75] On his 70th birthday he was awarded the Marshal of the Soviet Union– the highest military honour in the Soviet Union. After being awarded the medal, he attended the 18th Army Veterans dressed in a long coat and saying; "Attention, Marshal's coming!". His weakness for undeserved medals was proven with his badly written memoir about his military service during World War II. Despite the apparent weaknesses of his memoirs, they were awarded the Lenin Prize for Literature and were met with critical acclaim by the Soviet press.[76] The book was however followed by two other books, one on the Virgin Lands Campaign.[77] Brezhnev's vanity made him the victim of many political jokes.[76]Nikolai Podgorny warned him of this fact, but Brezhnev replied, "If they are poking fun at me, it means they like me".[76] It is now believed by Western historians and political analysts that the books were written by some of his "court writers". The memoirs treated the little known and minor Battle of Novorossisk as the decisive military theatre of World War II.[37]
    Brezhnev's personality cult was growing outrageously fast at a time when his health was in decline. His physical condition was deteriorating; he had become addicted to sleeping pills and as many other Soviets, began drinking an excessive amount of alcohol, smoked heavily and had over the years become overweight. From 1973 until his death Brezhnev's central nervous system underwent chronic deterioration and he had several strokes. When receiving the Order of Lenin, Brezhnev walked shakily and fumbled his words. The Minister of HealthYevgeniy Chazov had to keep doctors by Brezhnev's side at all times, with Brezhnev being brought back from limbo on several occasions. At this time, most senior officers of the CPSU wanted to keep him alive, even if such men as Mikhail Suslov, Dmitriy Ustinov and Andrei Gromyko among others were growing increasingly frustrated with Brezhnev's policies. However they did not want to risk a new period of domestic turmoil caused by his death.[78]
    Brezhnev's health worsened in the winter of 1981–82. In the meantime, the country was governed by Gromyko, Ustinov, Suslov and Yuri Andropov and crucial politburo decisions were made in his absence. While the politburo was pondering the question of who would succeed, all signs indicated that the ailing leader was dying. The choice of the successor would have been influenced by Suslov, but he died at the age of 79 in January 1982. Andropov took Suslov's seat in the Central Committee Secretariat; by May it became obvious that Andropov would try to make a bid for the office of the General Secretary. He, with the help of fellow KGB associates, started circulating rumours that political corruption had become worse during Brezhnev's tenure as leader in an attempt to create an environment hostile to Brezhnev in the Politburo. Andropov's actions showed that he was not afraid of Brezhnev's wrath.[79]
    Through spring, summer, autumn 1982 Brezhnev rarely appeared in public. The official explanation by the CPSU was that Brezhnev was not seriously ill, while at the same time doctors were surrounding him.[79] When he was close to death, Brezhnev's mental condition deteriorated to the point where he could not remember the names of several leading Politburo members. He was unable to write properly during his dying days; when asked by Andropov to write a letter of resignation in 1982, he was unable to do so.[18] On November 10, 1982, Brezhnev suffered a final attack and died.[79] He was honoured with a state funeral which was followed with a five-day period of nationwide mourning. He was buried in the Kremlin in Red Square.[80] National and international statesmen from around the globe attended his funeral. His wife and family attended, with his daughter Galina outraging spectators by not showing up in a sombre garb. Brezhnev on the other hand was dressed for burial in his Marshal's uniform along with all his medals.[79]

    [edit]Legacy


    Brezhnev commemorative plaque donated to the Haus am Checkpoint Charlie in Berlin, Germany
    Brezhnev presided over the Soviet Union for longer than any man except Joseph Stalin. He is often criticized for the prolonged era of economic stagnation, the Brezhnev Stagnation, in which fundamental economic problems were ignored and the Soviet political system was allowed to decline. During Mikhail Gorbachev's tenure as leader there was an increase in criticism of the Brezhnev years, such as claims that Brezhnev followed "a fierce neo-Stalinist line". The Gorbachevian discourse blamed Brezhnev for failing to modernize the country and to change with the times,[81] although in a later statement Gorbachev made assurances that Brezhnev was not as bad as he was made out to be, saying, "Brezhnev was nothing like the cartoon figure that is made of him now".[82] The intervention in Afghanistan, which was one of the major decisions of his career, also significantly undermined both the international standing and the internal strength of the Soviet Union.[62] In Brezhnev's defense, it can be said that the Soviet Union reached unprecedented and never-repeated levels of power, prestige, and internal calm under his rule.[83]
    Brezhnev has fared well in opinion polls when compared to his successors and predecessors in Russia. However in the West he is most commonly remembered for starting the economic stagnation which triggered the collapse of the Soviet Union.[1] A 2000 poll by VTsIOM asked various Russians the question: "was a given period more positive or more negative for the country?" The poll showed that 36 percent of the Russian people viewed Brezhnev's tenure as more positive then negative. His predecessor, Nikita Khrushchev trailed close behind him earning 33 percent.[84] A poll by the Public Opinion Fund in September 1999 similarly chose the Brezhnev period as the time in the twentieth century when "ordinary people lived best" having a clear majority of 51 to 10.[85] In similar themed poll done in 1994, Brezhnev only earned 36 to 16.[85] According a 2006 Public Opinion Fund poll, a surprisingly 61 percent of the Russian people viewed the Brezhnev era as good for the country.[86] A opinion measurement done by the VTsIOM in 2007 showed that most of the Russian people would have liked to live during Brezhnev's era rather than any other period of Russian history during the 20th century.[87] Researchers have noted a surge in Brezhnev's popularity, along with other communist rulers, during and in the aftermath of the Russian financial crisis of 1998 which is well remembered by many Russians for plunging many into poverty. When comparing these two periods, Brezhnev's Russia is best remembered for stability in prices and income by Russians and not the economic stagnation for which he is remembered of in the west.[1] Andrei Brezhnev, the son of Brezhnev's son Yuri, accused the Communist Party of the Russian Federation of deviating from communist ideology and launched the unsuccessful All-Russian Communist Movement in the late 1990s.[88]

    [edit]Personality traits and family

    Brezhnev's vanity became a problem during his reign. For instance, when Moscow City Party Secretary N. G. Yegorychev refused to sing his praises, he was shunned, forced out of local politics and earned only an obscure ambassadorship. Brezhnev had no problem with political corruption claiming that "Nobody lives just on their wages". His main passion was driving foreign cars given him by leaders of state from across the world. He usually drove these between his dacha and the Kremlin with flagrant disregard for public safety.[89]
    Brezhnev lived at 26 Kutuzovsky Prospekt, Moscow. During vacations, he lived in his Gosdacha in Zavidovo. He was married to Viktoria Petrovna (1912–1995). During her final four years she lived virtually alone, abandoned by everybody. She had suffered for a long time from diabetes and was nearly blind in her last years. He had a daughter, Galina Brezhneva,[89] and a son, Yuri.[90] Galina in her later life became an alcoholic who together with a circus director started a gold-bullion fraud gang in the later years of the Soviet Union.[89]

    [edit]References

    [edit]Notes

    1. ^ abcdef Bacon and Sandle 2002, p. 6.
    2. ^ ab McCauley 1997, p. 47.
    3. ^ ab Green and Reeves 1993, p. 192.
    4. ^ Murphy 1981, p. 80.
    5. ^ Childs 2000, pp. 84.
    6. ^ abcde McCauley 1997, p. 48.
    7. ^ Bacon and Sandle 2002, p. 7.
    8. ^Hough, Jerry F. (November 1982). "Soviet succession and policy choices". Bulletin of Atomic Scientists: p. 49. http://books.google.com/books?id=dQoAAAAAMBAJ&pg=PA49&dq=Leonid+Brezhnev+1956+%22space+program%22&lr=&hl=no&cd=4#v=onepage&q=Leonid%20Brezhnev%201956%20%22space%20program%22&f=false. Retrieved May 11, 2010.
    9. ^ Hough and Fainsod 1979, p. 371.
    10. ^Korlat, N (18 November 2008). Đilas podržao predlog "Đilas podržao predlog" (in Serbian). Blic. http://blic.rs/beograd.php?id=66015Đilas podržao predlog. Retrieved 7 September 2009.
    11. ^ abcd Taubman 2003, p. 615.
    12. ^ Service 2009, p. 376.
    13. ^ ab Service 2009, p. 377.
    14. ^ Taubman 2003, p. 5.
    15. ^ abc Service 2009, p. 378.
    16. ^ Taubman 2003, p. 16.
    17. ^ Service 2009, p. 379.
    18. ^ abc Brown 2009, p. 403.
    19. ^ Bacon and Sandle 2002, p. 10.
    20. ^ Brown 2009, p. 402.
    21. ^ Service 2009, p. 380.
    22. ^ ab Service 2009, p. 381.
    23. ^ abc Sakwa 1999, p. 339.
    24. ^ ab Service 2009, p. 382.
    25. ^"А. Железняков. Энциклопедия "Космонавтика". Выстрелы у Боровицких" (in Russian). Pereplet.ru. http://www.pereplet.ru/space/jan69.html. Retrieved 11 April 2010.
    26. ^ abcdefghijklmno Bacon and Sandle 2002, p. 40.
    27. ^ Service 2009, p. 385.
    28. ^ Service 2009, p. 386.
    29. ^ Service 2009, p. 389.
    30. ^ Service 2009, p. 407.
    31. ^ ab Bacon and Sandle 2002, p. 45.
    32. ^ Service 2009, p. 397.
    33. ^ ab Bacon and Sandle 2002, p. 47.
    34. ^ Service 2009, p. 400.
    35. ^ abc Service 2009, p. 401.
    36. ^ abcde Service 2009, p. 402.
    37. ^ ab Service 2009, p. 403.
    38. ^ Bacon and Sandle 2002, p. 1-2.
    39. ^ Sakwa 1999, p. 340.
    40. ^ Sakwa 1999, p. 341.
    41. ^ ab Bacon and Sandle 2002, p. 28.
    42. ^ Ulam 2002, p. 249.
    43. ^ ab Oliver and Aldcroft 1998, p. 275.
    44. ^ Oliver and Aldcroft 1998, p. 276.
    45. ^ Bacon and Sandle 2002, p. 46.
    46. ^ Bacon and Sandle 2002, p. 48.
    47. ^ Sakwa 1998, p. 28.
    48. ^ Service 2009, p. 423.
    49. ^ Service 2009, p. 416.
    50. ^ abc Service 2009, p. 417.
    51. ^ Service 2009, p. 409.
    52. ^ Service 2009, p. 418.
    53. ^ Service 2009, p. 421.
    54. ^ Service 2009, p. 422.
    55. ^ Service 2009, p. 427.
    56. ^ Bacon and Sandle 2002, p. 90.
    57. ^ Quimet 2003, p. 37.
    58. ^Burr, William (12 June 2001). "The Sino-Soviet Border Conflict, 1969: U.S Reactions and Diplomatic Maneuvers". National Security Archive. http://www.gwu.edu/~nsarchiv/NSAEBB/NSAEBB49/. Retrieved 11 April 2010.
    59. ^"SALT 1". Department of State. http://www.state.gov/www/global/arms/treaties/salt1.html. Retrieved 11 April 2010.
    60. ^ McCauley 2008, p. 75.
    61. ^ ab McCauley 2008, p. 76.
    62. ^ abcd McCauley 2008, p. 77.
    63. ^"The President". Richard Nixon Presidential Library. http://www.nixonlibrary.gov/thelife/apolitician/thepresident/index.php. Retrieved May 11, 2010.
    64. ^Hiden, John; Vahur Made, David J. Smith (2008). The Baltic question during the Cold War. Routledge. p. 209. ISBN0415371007.
    65. ^ Gaddis 2005, p. 178.
    66. ^ Kakar 1997, p. 15.
    67. ^ ab Herd and Moroney 2003, p. 5.
    68. ^ McCauley 2008, p. XXIV (24).
    69. ^ abc Brown 2009, p. 398.
    70. ^ Brown 2009, p. 399.
    71. ^ Paczkowski and Byrne 2008, p. 11.
    72. ^ Paczkowski and Byrne 2008, p. 14.
    73. ^ Paczkowski and Byrne 2008, p. 21.
    74. ^"Martial Law". BBC Online. http://news.bbc.co.uk/hi/english/static/special_report/1999/09/99/iron_curtain/timelines/poland_81.stm. Retrieved 17 April 2010.
    75. ^ Bacon and Sandle 2002, p. 8.
    76. ^ abc Bacon and Sandle 2002, p. 9.
    77. ^Abdullaev, Nabi (19 December 2006). "Brezhnev Remembered Fondly 100 Years Since Birth". The St. Petersburg Times. http://www.sptimes.ru/index.php?action_id=2&story_id=19803. Retrieved 11 April 2010.
    78. ^ Service 2009, p. 404.
    79. ^ abcd Service 2009, p. 426.
    80. ^"1982: Brezhnev rumours sweep Moscow". BBC Online. 10 November 1982. http://news.bbc.co.uk/onthisday/hi/dates/stories/november/10/newsid_2516000/2516417.stm. Retrieved 15 April 2010.
    81. ^ Bacon and Sandle 2002, p. 2.
    82. ^ Bacon and Sandle 2002, p. 27.
    83. ^ Bacon and Sandle 2002, p. 1.
    84. ^ Bacon and Sandle 2002, p. 4.
    85. ^ ab Bacon and Sandle 2002, p. 5.
    86. ^"Russians Satisfied with Brezhnev's Tenure". Angus-Reid.com. http://www.angus-reid.com/polls/view/14243/russians_satisfied_with_brezhnevs_tenure. Retrieved 15 April 2010.
    87. ^"ВЦИОМ: Лучшие лидеры — Брежнев и Путин" (in Russian). Rosbalt.ru. 25 April 2007. http://www.rosbalt.ru/2007/04/25/294470.html. Retrieved 15 April 2010.
    88. ^Myers, Steven Lee (10 August 2002). "The Saturday Profile; A Different Kind of Brezhnev in the Making". The New York Times. http://www.nytimes.com/2002/08/10/world/the-saturday-profile-a-different-kind-of-brezhnev-in-the-making.html?pagewanted=all. Retrieved 15 April 2010.
    89. ^ abc Service 2009, p. 384.
    90. ^Chiesa, Giuliettlo (1991). Time of change: An Insider's View of Russia's Transformation. I.B.Tauris. p. 23. ISBN1850433054.

    [edit]Bibliography

    [edit]External links

    Edward Hallett Carr《何謂歷史》What is history?;《新社會》The New Society

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    維基百科,自由的百科全書

    愛德華·哈利特·卡爾
    Edward Hallett Carr
    出生 1892年6月28日
    英國倫敦
    逝世 1982年11月3日(90歲)
    英國倫敦
    國籍 英國
    母校 劍橋大學三一學院
    職業 史家· 外交官· 國際關係理論學家· 新聞從業員
    知名於 研究蘇聯歷史; 在國際關係理論中創立烏托邦現實主義教學法; 在《歷史是什麼?》一書中描述了根本的歷史性原理
    配偶 Anne Ward Howe
    Betty Behrens
    兒女 1


    愛德華· 哈利特·「泰德」·卡爾 (Edward Hallett "Ted" Carr,一般簡稱為 E.H. Carr, 1892年6月28日—1982年11月5日),為英國歷史學家國際關係學者。卡爾為國際關係中的古典現實主義理論的奠基者之一。卡爾出生於英國倫敦一個中產階級家庭,畢業於劍橋大學。他於1916年進入英國外交部,在那裡一直工作到1936年。1917年卡爾開始處理與蘇聯有關的事務。1919年作為英國代表團的一員,卡爾參加了巴黎和會,此後開始負責與國聯相關的工作。1929年開始,卡爾撰寫了大量關於俄國、蘇聯以及國際關係的文章。


    目錄
    1著作
    2選集
    3參考文獻
    4外部連接
    著作[編輯]
    兩次世界大戰之間的國際關係
    《What is history?》ISBN 0-333-38956-5繁體中文譯本:《歷史論集》(王任光譯,臺北:幼獅出版社,1968,1990,ISBN:9575301641)、《何謂歷史?》(江政寬譯,臺北:博雅書屋,2009,ISBN:9789866614224)、《何謂歷史》(江政寬譯,臺北:五南圖書,2013,ISBN:9789571174549)簡體中文譯本:《歷史是什麼?》(吳柱存譯,北京:商務印書館,1981)、(陳恆譯,北京:商務印書館,2007)

    《新社會》The New Society 李永熾譯,台北: 水牛,1973?




    The New Society, with a New Preface. Paperback – 1 1 月 1957




    In May–June 1951, Carr delivered a series of speeches on British radio entitled The New Society, that advocated a commitment to mass democracy, egalitarian democracy, and "public control and planning" of the economy.[80] Carr was a reclusive man whom few knew well, but his circle of close friends included Isaac DeutscherA. J. P. TaylorHarold Laski and Karl Mannheim.[81] Carr was especially close to Deutscher.[16]:78–79 In the early 1950s, when Carr sat on the editorial board of Chatham House, he attempted to block the publication of the manuscript that eventually became The Origins of the Communist Autocracy by Leonard Schapiro on the ground that the subject of repression in the Soviet Union was not a serious topic for a historian.[82] As interest in the subject of Communism grew, Carr largely abandoned international relations as a field of study.[83] In 1956, Carr did not comment on the Soviet suppression of the Hungarian Uprising, while at the same time condemning the Suez War.[84]



    選集[編輯]
    • Dostoevsky (1821–1881): A New Biography, New York: Houghton Mifflin, 1931.
    • The Romantic Exiles: A Nineteenth Century Portrait Gallery, London: Victor Gollancz, 1933.
    • Karl Marx: A Study in Fanaticism, London: Dent, 1934.
    • Michael Bakunin, London: Macmillan, 1937.
    • International Relations Since the Peace Treaties, London: Macmillan, 1937.
    • The Twenty Years' Crisis, 1919–1939: an Introduction to the Study of International Relations, London: Macmillan, 1939, revised edition, 1946.
    • Britain: A Study of Foreign Policy from the Versailles Treaty to the Outbreak of War, London; New York: Longmans, Green & Co., 1939.
    • Conditions of Peace, London: Macmillan, 1942.
    • Nationalism and After, London: Macmillan, 1945.
    • The Soviet Impact on the Western World, 1946.
    • A History of Soviet Russia, London: Macmillan, 1950–1978. Collection of 14 volumes: The Bolshevik Revolution (3 volumes), The Interregnum (1 volume), Socialism in One Country (5 volumes), and The Foundations of a Planned Economy (5 volumes).
    • The New Society, London: Macmillan, 1951.
    • German-Soviet Relations Between the Two World Wars, 1919–1939, London: Geoffrey Cumberlege, 1952.
    • What Is History?, 1961, revised edition ed. R.W. Davies, Harmondsworth: Penguin, 1986.
    • 1917 Before and After, London: Macmillan, 1969; American edition: The October Revolution Before and After, New York: Knopf, 1969.
    • The Russian Revolution: From Lenin to Stalin (1917–1929), London: Macmillan, 1979.
    • From Napoleon to Stalin and Other Essays, New York: St. Martin's Press, 1980.
    • The Twilight of the Comintern, 1930–1935, London: Macmillan, 1982.
    • The Comintern and the Spanish Civil War, 1984.

    《我的職業是小說家》《村上T恤》《村上春樹的世界》;online 邀讀者交流;「村上春樹研究センター」、Murakami 村上春樹mania :《日出國的工場》《如果我們的語言是威士忌》把我想成瀕絕動物「1Q84」等也被迫在書店消失 名誉博士《終究悲哀的外國語》Murakami: Imagination leads to 'special room that lies within us'

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    2020年推出新書《村上T恤》,其實是村上的第二本回憶錄,只不過他用T恤圖像加上少許的文字說明,來呈現他過去的豐功偉業。如果大家尚未遺忘的話,《我的職業是小說家》就是他第一本回憶綠。



    《村上春樹的世界 東京篇 1968~1997》台北:紅色文化,城邦,1998






    Stand News 立場新聞
    日本作家村上春樹人氣高漲,書迷不但會排隊買新作,甚至熱切追求其筆下生活形式。日本有年輕人仰慕村上,專誠報考早稻田大學;他寫威士忌,讀者便喝威士忌;他寫古典音樂家楊納傑克,楊納傑克的唱片即刻大賣;台北更有地產商以「村上式生活」為名,推出住宅社區。
    如果書迷有機會與作者直接對話,又會迸發出怎樣的潮流?
    日本作家村上春樹人氣高漲,書迷不但會排隊買新作,甚至熱切追求其筆下生活形式。日本有年輕人仰慕村...
    THESTANDNEWS.COM

    村上春樹センター、台湾の大学に開設

    2014.9.23 09:21
     台北郊外の私立大、淡江大は、各国語に翻訳されている日本の人気作家、村上春樹さんの作品を研究する「村上春樹研究センター」を設置し、関係者が22日に開設式典を開いた。式典では、村上氏から「外国に僕の作品を研究する機関が生まれるのは大きな驚きであり喜びであります。これからもさらに意欲的に作品を書き続けたい」などとするメッセージが寄せられた。
     村上作品を研究対象に選ぶ学生が増えているのを受け、設置が決まった。各地でどう読まれているかを比較するなど多様な研究を進め、村上作品の国際的な研究拠点を目指す。台湾では1980年代半ばに中国語圏でいち早く村上作品が読まれ始め、中国語圏での人気を牽引(けんいん)してきた。(共同)



     村上春樹さんの3年ぶりの長編小説「色彩を持たない多崎つくると、彼の巡礼の年」が発売された12日、版元の文芸春秋は10万部の増刷を決め、発行計60万部となった。



    18年後公開演講受訪 村上春樹:把我想成瀕絕動物

    2013-05-08 02:42
    • 中國時報
    • 【黃菁菁/東京八日電】

         作家村上春樹睽違十八年後終於在日本公開露面,他七日在京都大學與五百名讀者交流時談及,自己喜歡的作家是夏目漱石、吉行淳之介,不喜歡的是川端康成。
         看靈魂、寫靈魂 與讀者們交流
         村上幾乎不公開露面,這次是應邀參加河合隼雄小說獎暨學藝獎的創設紀念活動,因為已故臨床心理學者河合是他的摯友。村上的演講共吸引約一千五百名讀者報名,最後抽選出幸運的五百名。
         村上以牛仔褲、棒球帽、球鞋等輕鬆造型現身,在京都大學百周年紀念大廳,以「看靈魂、寫靈魂」為題發表演講,並接受隨筆作家、前編輯湯川豐的訪問,公開與讀者對談。演講會全程不接受媒體採訪,同時規定讀者不得錄影、錄音。
         不願公開露面 盼讀者遠遠觀察
         不過,村上很有耐心且幽默地回答提問。被問到不公開露面的理由時,村上開玩笑說:「我的工作是寫文章,因此盡量不想參與寫文章以外的事。請把我想成瀕臨絕種的西表山貓(日本沖繩特有的品種)的話,我會很感謝的。即使看到了,都希望能只從遠遠的觀察。」
         談到剛發表的新作《沒有色彩的多崎造和他的巡禮之年》,村上說,自己也被四位主角引導著寫到欲罷不能,才會變成長篇小說。「在我的作品中,那麼仔細地描寫豐富多彩的人物還是第一次,邊寫我邊對人與人的關聯感到強烈的關心與同感。」
         要成長得更大 傷痛就得大一點
         對主角被好友宣告絕交一事,村上說:「我也有類似經驗,這是成長故事,要成長得更大,傷痛就得大一點。」
         《沒有色彩的多崎造和他的巡禮之年》是自從《挪威的森林》之後,村上再度以現實主義手法書寫的小說。「表面上是現實的,底層有非現實。也許會被認為是文學的後退,但對我自己而言,是新的嚐試。」
         故事在靈魂深處 能與讀者相連
         「小說家的任務就是要將人們的故事,用相對性的模式表現。我的故事與讀者的心產生共鳴,才會形成靈魂的網路。」村上還說:「所謂的『物語』(故事)是在人的靈魂深處的東西,正因為在心中最深處,才能從根本上連結人與人。」
         六十四歲的村上被問到今後跑馬拉松的計畫時表示,「我跑馬拉松已經超過卅年,花的時間變長也是沒辦法的事,但我想訓練自己到即使年紀大了也能跑的程度,到八十、八十五歲左右還能跑馬拉松就好了。」
         作品無趣還會買 最愛這種讀者
         針對「平時讀什麼書呢?」的提問,他說「在我的記憶當中,小學三年級以前幾乎都不讀書,小學四年級以後,會騎車到當時住的兵庫縣西宮市圖書館,把兒童的讀物幾乎都讀完,拿到什麼書就讀什麼,讀書也是很重要的。」
         他最後感謝讀者說:「我真的很高興,有讀者等著我出書並且買書。我會拚命寫的,今後也請多關照。」
         「比起說讀我的作品會感動到哭,我更喜歡聽到的是讀我的作品會想笑。」他說:「會說『這次的作品很無趣,太失望了,但下次也要買』這樣的人我最喜歡了。」

    In rare appearance, Murakami says relationships of characters in his latest book intrigued him


    Bernat Armangue, File/Associated Press - FILE - In this Feb. 15, 2009 file photo, novelist Haruki Murakami of Japan reacts before receiving the Jerusalem award during the International Book Fair in Jerusalem. Murakami said Monday, May 6, 2013 his latest novel was a new experiment and grew longer than expected as he developed a desire to expand on side characters while writing. The latest novel by one of Japan’s most respected and popular novelists, “Colorless Tsukuru Tazaki and the Year of His Pilgrimage,” has sold more than 1 million copies a week since it went on sale last month.



    KYOTO, Japan — In a rare public appearance, respected Japanese writer Haruki Murakami said his latest novel was an experiment and grew longer than expected as he developed a desire to expand on side characters while writing.
    “Colorless Tsukuru Tazaki and the Year of His Pilgrimage” has sold more than 1 million copies a week since it went on sale last month.



    The novel, whose story was a well-kept mystery up until the book’s release, is about a man healing from a sudden rejection by his friends. Murakami said it reflects his deep interest in real people and relationships rather than allusions.
    “At the beginning, I was planning to write something allusive, as in my past works. But this time I developed a great interest in expanding on real people. Then the characters started to act on their own. I was intrigued by the relationships between people,” Murakami said.
    The protagonist, Tsukuru Tazaki, a 36-year-old railway station architect, returns to his hometown of Nagoya in central Japan and travels as far as Finland trying to learn why he was rejected 16 years earlier by his best friends — two boys and two girls — in hopes of making a fresh start in life.
    In the book, Tazaki’s girlfriend plays a key role in urging him to try to come to terms with his past trauma. Murakami said the girlfriend character, Sara Kimoto, also led him to write more about the four friends.
    Murakami said the significance of storytelling is to portray something invisible and deep inside in each person and help create a place where people can sympathize and identify with others.
    “If a reader sympathizes with my story, then there is a network of empathy,” he said.
    The novel is the first in three years for Murakami and is only available in Japanese for now. Japanese media said his appearance Monday at Kyoto University was Murakami’s first public appearance in Japan in 18 years.
    The writer said he could sympathize with Tsukuru’s pain because he had a similar experience, although not as bad.
    “I can understand how painful it is to be rejected,” Murakami said. “When you get hurt, you may build an emotional wall around your heart. But after a while you can stand up and move on. . That’s the kind of story I wanted to write.”
    Murakami, often mentioned as a Nobel Prize contender, has written such internationally known works as “Norwegian Wood” and “The Wind-Up Bird Chronicle.”
    Also an accomplished translator of contemporary American literature, Murakami counts among his influences F. Scott Fitzgerald and Raymond Chandler. Murakami taught as a visiting scholar at Princeton University in the early 1990s.
    He is also a prolific nonfiction writer and has published a collection of interviews of survivors and bereaved families of a gas attack on Tokyo’s subways in 1995 by an apocalyptic cult, Aum Shinrikyo.
    A vocal opponent of atomic weapons, Murakami has been a critic of Japan’s pro-nuclear energy policies since the 2011 Fukushima disaster.
    Murakami’s reclusiveness has added to his appeal.
    The last time he appeared in public in Japan was at a book reading after a disastrous 1995 earthquake in Kobe, near where he grew up.
    Monday’s event in his birthplace, Kyoto, was tightly controlled. He was interviewed by a veteran literary critic, and no recording or filming was allowed by the media or the audience of 500 who won seats by a lottery.
    Murakami, dressed casually in a plaid shirt, brick-colored jeans and navy sneakers, appeared relaxed, but admitted he is media shy.
    “When I woke up this morning I almost thought of taking a bullet train home,” he joked. “It’s not because I have a mental condition or purple spots all over my body. I’m just an ordinary person who lives an ordinary life.”
    He said his job is to write and he prefers to concentrate on that.
    Chiyomi Hirosawa, a 43-year-old architect in the audience, said she was delighted to see Murakami in person.
    “It was great to be able to see the real Murakami that we can never know from his novels. He has a great sense of humor and seemed more upbeat than the kind of person I was imagining,” she said.
    Copyright 2013 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.


    Murakami mania sweeps Japan as new novel is released

    An initial print run of 500,000 copies is announced as Colourless Tsukuru and His Years of Pilgrimage finally goes on sale.

    Publishing sensation: Haruki Murakami
    Publishing sensation: Haruki Murakami Photo: Rex
    The latest novel by Haruki Murakami went on sale today in Japan amidst extraordinary scenes. The Japanese author is a publishing sensation in his own country, where each new novel unleashes a wave of Murakami mania.
    Hundreds of fans lined up outside Tokyo's bookshops, which opened their doors at midnight to deal with the demand for Colourless Tsukuru and His Years of Pilgrimage. Media crews also stationed themselves on the streets as broadcasters aired a live countdown to the launch.
    One bookshop even temporarily renamed itself after the author, to mark the new novel's release.
    The book's publisher, Bungei Shunju, announced an initial print run of 500,000 copies, roughly one for every 250 people in Japan, according to Channel NewsAsia.
    The print run of Murakami's last novel, 1Q84, sold out on its first day of release, reaching sales of one million within a month.
    Amazon Japan reported it had already taken 20,000 pre-orders as of last Saturday.
    Breakfast television programmes were showing pictures this morning of journalists who had stayed up all night to read the book. One early review described the new work as "a story about a man who tries to get back into his life again. You see the strength of a person who tries to overcome the feelings of loss and lonelines that he has amassed deep inside of himself."
    Fans on Twitter expressed their excitement over the new book and intrigue over what the unusually long title meant. "The title says 'colourless'. What does this illustration mean? I cannot wait to read it," tweeted Ryosuke Kawai, 26, one of the first to get his hands on a copy.
    Some fans have speculated that the title is a reference to a collection of piano pieces called "Years of Pilgrimage" by Hungarian composer Franz Liszt.
    The demand for the new book is all the more remarkable considering that, in typical Murakami fashion, fans had been told virtually nothing in advance about it.
    The author, whose fiction focuses on the fantastical and surreal, has a reputation for setting puzzles for his readers. 1Q84, shortlisted this week for the Impac Dublin Literary Award, baffled readers with its plotline set in parallel universes.

    Twitter fans also praised Murakami's ability to generate literary excitement in a nation heavily addicted to technology, in particular videogames and smartphones.
    He is rarely seen in public and has not made an appearance in Japan in almost two decades, although that is set to change in May, when he will appear at a seminar in Kyoto.
    Murakami's novels have sold millions of copies, been translated into over forty languages, and won him the Franz Kafka Prize, the Jersualem Prize, and Spain's Catalunya Prize amongst others. He has also been tipped to win the Nobel literature prize.
    《中英對照讀新聞》Author Murakami wades into Japan-China island row 作家村上春樹涉入日中島嶼爭議

    ◎俞智敏
    Haruki Murakami, one of the world’s foremost novelists, waded into the territorial row between China and Japan recently, warning of the peril of politicians offering the "cheap liquor" of nationalism.
    全球最知名的小說家之一村上春樹最近也涉入中國與日本之間的領土爭議,警告政客們提供民族主義「廉價劣酒」可能引發的風險。
    The Japanese author of "Norwegian Wood" said cool heads should prevail.
    這位曾寫過小說「挪威森林」的日本作家表示,在爭議中理智應該佔上風。
    Writing in the liberal-leaning Asahi Shimbun, Murakami, who has been tipped as a future Nobel laureate, said disputes over land existed because of the unfortunate system of dividing humanity into countries with national borders.
    多次被視為諾貝爾文學獎可能得主的村上投書給自由派的朝日新聞寫道,有關釣魚台的爭議之所以存在,是因為把人類用國界分為不同國家的不幸系統所導致。
    "When a territorial issue ceases to be a practical matter and enters the realm of ’national emotions’, it creates a dangerous situation with no exit.
    「當領土議題不再是實際問題,而成為『民族情感』的問題時,就會製造出無路可走的危險情勢。」
    "It is like cheap liquor. Cheap liquor gets you drunk after only a few shots and makes you hysterical. It makes you speak loudly and act rudely... But after your drunken rampage you are left with nothing but an awful headache the next morning.
    「這就像是喝劣酒。廉價的劣酒只要幾杯就能讓你喝醉,變得歇斯底里。喝劣酒讓你說話大聲,舉止粗魯……但當你發完酒瘋後,第二天早上除了頭痛欲裂外一無所有。
    "We must be careful about politicians and polemicists who lavish us with this cheap liquor and fan this kind of rampage," he wrote.
    「我們必須提防這些拚命給我們倒劣酒、煽起暴動的政客和好辯人士,」他寫道。
    "You soon sober up after the buzz of cheap liquor passes," he said. "But the path for souls to come and go must not be blocked."
    「劣酒帶來的宿醉過後,你很快就會清醒過來,」他說。「但靈魂的交流道路不該被堵住。」
    Murakami has never shied away from controversy. When he received the 2009 Jerusalem Prize, Israel’s highest literary honour for foreign writers, he obliquely criticised the Middle East conflict.
    村上過去從不畏懼涉入爭議話題。當他於2009年獲得以色列頒給外國作家的最高文學獎項耶路撒冷獎時,就曾間接批評過中東衝突。
    "If there is a hard, high wall and an egg that breaks against it, no matter how right the wall or how wrong the egg, I will stand on the side of the egg," he said at the ceremony in Jerusalem.(AFP)
    「假如有一堵堅固的高牆,和一顆擊打在牆上的雞蛋,不論那堵高牆有多正確,或雞蛋有多錯誤,我都會站在雞蛋那邊,」他在耶路撒冷的頒獎儀式上表示。(法新社)
    新聞辭典

     
    a cool head:指在困境中保持冷靜思考的能力,如These are high pressure situations and you have to keep a cool head.(在這種高壓情況下,你必須保持冷靜。)
    sober up:片語,指使(酒醉者)清醒,亦可引申為指讓某人面對現實,如The harsh reality of what had happened sobered him up immediately.(事情發生的殘酷現實讓他立刻清醒過來。)
    obliquely: 副詞,形容詞為oblique,指斜的、傾斜的,引申為指拐彎抹角的、不直截了當的,間接的,如He referred obliquely to a sordid event in her past.(他拐彎抹角地提到她過去發生的一樁難堪事件。)




     遷怒於村上春樹的小說中日間就釣魚島(日本稱尖閣諸島)主權爭議引發的紛爭仍在繼續,甚至已經蔓延到了文化界。(德國之聲中文網)中日間就釣魚島(日本稱尖閣諸島)主權爭議引發的紛爭仍在繼續,甚至已經蔓延到了文化界。日本著名作家村上春樹一系列小說的中文版譯者林少華,日前呼籲中國出版社不再出版村上的作品,書店也不再銷售他的書。 《南德意志報》的文藝副刊發表署名文章,講述了中日島嶼之爭背景下的這場文人論戰。文章說,林少華本人也是個村上迷,他翻譯村上的作品已經有20多年了,並與原作者保持著密切的個人關係。日本文學翻譯者林少華“林少華最近的言論或許讓人們感到詫異,但不能把他的表述和那些盲目從眾、暴力洩憤的示威者的民族主義畫上等號,他們中的大多數可能從未讀過一本日本作家寫的書。但林的話也不能被淡化為一時走嘴,或酒後失言。這似乎的確是這位日本文學學者的本意。難道他是被中國的文化官僚施加了壓力?對此我們不可能很快得到答案。同樣我們無法知道,那些把日本作家的作品取下貨架的書店,是得到了當局的指令還是過分積極自覺才這樣做。然而,一位著名的、年事已高的翻譯家,得受到多大的壓力,才會唾棄自己傾注了大半生心血的文學作品呢?”文章指出,其實村上春樹9月底就在《朝日新聞》上發表文章,提醒人們不要被民族主義所蠱惑。他把民族主義比作讓人失去理智的“廉價的烈酒”。中國作家閻連科上週末在《國際先驅論壇報》上發表文章,提到一千多名日本知名人士發表的一封呼籲當局正視日本殖民歷史,保持理性尺度的公開信。文章引述了閻連科的話:“日本作家可以率先對關乎中日兩國命運同時又命若琴弦的東亞局勢發表明洞而理性的見解,這是他們令人敬重的作為知識分子的人格和寫作者的不凡,相比之下,我作為一個中國作家,就顯得遲鈍和麻木,自愧弗如了。”

    迁怒于村上春树的小说

    中日间就钓鱼岛(日本称尖阁诸岛)主权争议引发的纷争仍在继续,甚至已经蔓延到了文化界。
    (德国之声中文网)中日间就钓鱼岛(日本称尖阁诸岛)主权争议引发的纷争仍在继续,甚至已经蔓延到了文化界。日本著名作家村上春树一系列小说的中文版译者 林少华,日前呼吁中国出版社不再出版村上的作品,书店也不再销售他的书。《南德意志报》的文艺副刊发表署名文章,讲述了中日岛屿之争背景下的这场文人论 战。文章说,林少华本人也是个村上迷,他翻译村上的作品已经有20多年了,并与原作者保持着密切的个人关系。


    日本文学翻译者林少华
    “林少华最近的言论或许让人们感到诧异,但不能把他的表述和那些盲目从众、暴力泄愤的示威者的民族主义画上等号,他们中的大多数可能从未读过一本日 本作家写的书。但林的话也不能被淡化为一时走嘴,或酒后失言。这似乎的确是这位日本文学学者的本意。难道他是被中国的文化官僚施加了压力?对此我们不可能 很快得到答案。同样我们无法知道,那些把日本作家的作品取下货架的书店,是得到了当局的指令还是过分积极自觉才这样做。然而,一位著名的、年事已高的翻译 家,得受到多大的压力,才会唾弃自己倾注了大半生心血的文学作品呢?”

    文章指出,其实村上春树9月底就在《朝日新闻》上发表文章,提醒人们不要被民族主义所蛊惑。他把民族主义比作让人失去理智的“廉价的烈酒”。中国作家阎连 科上周末在《国际先驱论坛报》上发表文章,提到一千多名日本知名人士发表的一封呼吁当局正视日本殖民历史,保持理性尺度的公开信。文章引述了阎连科的话:

    “日本作家可以率先对关乎中日两国命运同时又命若琴弦的东亚局势发表明洞而理性的见解,这是他们令人敬重的作为知识分子的人格和写作者的不凡,相比之下,我作为一个中国作家,就显得迟钝和麻木,自愧弗如了。”




    编译:叶宣
    责编:洪沙


    〔中央社〕「朝日新聞」報導,中日關係緊繃,北京政府指示書店拿掉日本作家的作品,知名小說家村上春樹的名作「1Q84」等也被迫在書店消失。

    報導引述幾位當地出版業者的消息指出,管理北京市出版業的「新聞出版局」17日召集負責出版日本相關書籍的出版社編緝。

    出版局幹部說明中日關係緊迫,並口頭指示「統一思想、把握方向」。

    編緝們表示「參加的人都聽得出來,意思是叫大家不要出版和銷售有關日本的書」。

    報導指出,中國大陸的網路上也出現出版局要求不要出版有關日本作家、日本題材等書籍的內容。

    出版局接受朝日採訪時表示,「從來沒有發過什麼通知」。

    北京市內的書店已經開始撤掉有關日本的書籍,有名的「王府井書店」昨天一口氣撤掉所有日本作家的作品,連放在暢銷書專區的村上春樹「1Q84」也不見了。

    其他的大書店也撤掉了日本小說,店員表示「因為中日關係惡化」。

    報導指出,中國大陸國務院總理溫家寶表示對日本要採取「有力的措施」,大陸政府各部門都各自開始做出對日本的對抗措施。




    這本書 只剩下這段筆記

    村上春樹《終究悲哀的外國語》(林少華譯,上海:譯文)
    談日-英-日的比較,我們讀者更多一日-英-日-中……的問題。
    他說漢字的氛圍製造乃是字母無法取代的。


     ハワイ大学マノア校は12日に開かれた卒業式で、作家村上春樹さんに名誉博士号を授与した。
     村上さんの作品が40以上の言語に翻訳され、ポストモダン文学に世界的な貢献をしていることや、英語の文学作品を多く日本語訳したことなどを評価した。村上さんは現在、同校東アジア言語文学部で客員教授を務め、日本文学の授業に参加したり、朗読会を開いたりしている。

    A poster announces a lecture to be conducted by Haruki Murakami at the University of Hawaii. (Yu Yamada)
    A poster announces a lecture to be conducted by Haruki Murakami at the University of Hawaii. (Yu Yamada)

    Novelist Murakami: Imagination leads to 'special room that lies within us'

    April 17, 2012
    By YU YAMADA/ Staff Writer
    HONOLULU--Internationally acclaimed writer Haruki Murakami gave a lecture and reading to a standing-room only crowd at the University of Hawaii's Manoa campus.
    Murakami is a visiting writer-in-residence at the East Asian Languages and Literatures Department for the current school year.
    The April 10 event was titled, "What I Talk About When I Talk About Writing."
    In addition, Murakami has taken part as a guest in other courses on Japanese literature and has been accessible to students.
    About 200 people were waiting for the doors to open to Murakami's event. The 600 or so seats in the ballroom were filled about 30 minutes before Murakami addressed the crowd. An additional 200 or so people stood.
    This is the second time Murakami has spoken at the University of Hawaii.
    "I gave a lecture at this same place six years ago," Murakami told the crowd. "I am very happy to be invited back again."
    In his talk in English, Murakami discussed how using one's imagination made it possible to see a "bridge under the water."
    People can see it when they open the door to a special room that lies within them, Murakami said. He added that seeing it can change the way people think about life and it is the power of novels that can lead to such experiences.
    Murakami also revealed how he wrote every day for about three years to complete his most recent work, "1Q84."
    Murakami read two short stories from his collection "Blind Willow, Sleeping Woman." The stories selected were "The Rise and Fall of Sharpie Cakes" and "The Mirror."
    Before reading his works in Japanese, Murakami explained that he did not feel comfortable reading his own works in English.
    The English translations were read by Ken Ito, a professor of Japanese literature.
    The audience gave Murakami a standing ovation after his readings, and students formed a line to get autographs. Murakami responded to the huge demand, staying for more than an hour to sign autographs and talk to participants.
    Shihlun Chen, 35, a graduate student at the University of Hawaii, said he had read almost all of Murakami's works and sat in one of the front rows because it was unusual for Murakami to make such a public appearance. Chen said he was glad to be able to listen to Murakami's voice because it allowed him to gain a sense of his tempo.
    The student added that the appeal of Murakami's work was in expressing the loneliness felt by the younger generation even as they lived in urban areas and were part of a larger group.
    Although Murakami did not have a regular course he was in charge of, he would attend lectures if invited. He also set up office hours during which students could come to him with their questions.
    In one class held in December by Gladys Nakahara, an instructor of Japanese language, Murakami read in Japanese from a collection of essays that can be translated into English as "Afternoon in the Islets of Langerhans." During the class discussion that followed, Murakami answered questions raised by students, including his thoughts at the time of the writing as well as his experience running the Honolulu Marathon.
    "Although I heard that Murakami did not like to have his photo taken, he allowed photos to be taken," Nakahara said. "The students were all very happy."
    Joel Cohn, an associate professor of Japanese literature, said: "Murakami's works are very accessible. Our imaginations are stimulated because we are unsure what the elements in his novels symbolize. While his term ends in July for the current academic year, I hope he can continue this in the next academic year."



    2014.4.2 補我2004年的一小篇

    叫Haruki Murakami,不是「村上春樹」!
    坦白說,村上春樹的作品很多,不過只看完《日出國的工場》。
    最近出版商猛吹捧其關係產業(猶如昆曲的困獸之鬥),讀起來也很有意思。
    他的書名翻譯都將錯就錯:「挪威森林」等等,最近「聽見100%的村上春樹」("Haruki Murakami and Music of Words")其實是對作者文字神韻的「音癡低調處理」;他的譯者魯賓(他在哈佛專門講授和研究日本文學)的書《妨害風化:明治時代的文人》(Injurious to Public Morals: Writers and the Meiji State")
    將文人與國家對立(Writers and the Meiji State)化解:「明治時代的文人」。
    *****
    村上春樹《如果我們的語言是威士忌》賴明珠譯
    「這是一本主題旅行寫作……背景是全球最好的小麥釀威士忌家鄉:愛爾蘭。……更循著二十世紀頭牌小說家、寫作《尤里西斯》的喬伊斯故鄉,有所著墨。」


    Noam Chomsky at 92;92歲的"大師"Noam Chomsky接受《紐約客》訪問,他認為( Believes ):Trump 是人類史最要不得的罪犯( “the Worst Criminal in Human History} 2次訪談;state capitalism / Humanitarian Imperialism 人道的帝国主義―民主国家アメリカの偽善と反戦平和運動の実像

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    4月23日 反思錄 0423 2021:周芬伶'洪銘水。一些大學的新聞( News from Some Universities):92歲的"大師"Noam Chomsky接受《紐約客》訪問,他認為( Believes ):Trump 是人類史最要不得的罪犯( “the Worst Criminal in Human History}《德斯坦回憶錄--政權與人生》《一代報人王芸生》;胡適、蔣介石與王芸生敬悼盧淵源、彭淮棟譯的托瑪斯.曼《浮士德博士:一位朋友敘述的德國作曲家阿德里安.雷維庫恩的生平》(Doktor Faustus)


    0:01 / 4:35





    訪談中的人物 (56):92歲的"大師"Noam Chomsky接受《紐約客》訪問,他認為( Believes ):Trump 是人類史最要不得的罪犯( “the Worst Criminal in Human History}



    HCMEMORY.BLOGSPOT.COM
    訪談中的人物 (56):92歲的"大師"Noam Chomsky接受《紐約客》訪問,他認為( Believes ):Trump 是人類史最要不得的罪犯( “the Worst Criminal in Human History}
    Noam Chomsky - Wikipedia https://en.wikipedia.org › wiki › Noa... Avram Noam Chomsky (born December 7, 1928) is an American linguist, philos...







    How do you introduce Noam Chomsky? Perhaps you start here: In 1979, The New York Times called him “arguably the most important intellectual alive today.” More than 40 years later, Chomsky, at 92, is still putting his dent in the world — writing books, giving interviews, changing minds.

    您如何介紹Noam Chomsky? 也許您從這裡開始:1979年,《紐約時報》稱他為“當今最重要的知識分子”。 40多年後,現年92歲的喬姆斯基仍然在世界上屈指可數-寫書,接受采訪,改變主意。


    There are different sides to Chomsky. He’s a world-renowned linguist who revolutionized his field. He’s a political theorist who’s been a sharp critic of American foreign policy for decades. He’s an anarchist who believes in a radically different way of ordering society. He’s a pragmatist who pushed leftists to vote for Joe Biden in 2020 and has described himself as having a “rather conservative attitude towards social change.” He is, very much, himself.


    喬姆斯基有不同的立場。 他是一位享譽世界的語言學家,徹底改變了他的領域。 他是一位政治理論家,數十年來一直是美國外交政策的尖銳批評家。 他是一位無政府主義者,堅信採用一種截然不同的社會秩序方式。 他是一個實用主義者,於2020年推動左派人士投票選舉喬·拜登(Joe Biden),並形容自己對社會變革持“相當保守的態度”。 他非常,就是他自己。

    The problem in planning a conversation with Chomsky is how to get at all these different sides. So this one covers a lot of ground. We discuss:

    在計劃與喬姆斯基的對話時,問題在於如何從所有這些不同方面入手。 因此,這涉及很多領域。 我們討論:




    Why Chomsky is an anarchist, and how he defines anarchism


    How his work on language informs his idea of what human beings want


    The role of advertising in capitalism


    Whether we should understand job contracts as the free market at work or a form of constant coercion


    How Chomsky’s ideal vision of society differs from Nordic social democracy


    How Chomsky’s class-based theory of politics holds up in an era where college-educated suburbanites are moving left on economics


    Chomsky’s view of the climate crisis and why he thinks the “degrowth” movement is misguided


    Whether job automation could actually be a good thing for human flourishing


    Chomsky’s views on US-China policy, and why he doesn’t think China is a major geopolitical threat


    The likelihood of nuclear war in the next decade

    And much more.

    (A full transcript of the episode can be found here.)

    為什麼喬姆斯基是無政府主義者,以及他如何定義無政府主義

    他在語言方面的工作如何傳達出他對人類想要的東西的想法

    廣告在資本主義中的作用

    我們應該將工作合同理解為工作中的自由市場還是持續的強制形式

    喬姆斯基的理想社會觀與北歐社會民主主義有何不同

    喬姆斯基的基於階級的政治理論如何在這個受大學教育的郊區人向經濟學左移的時代中站穩腳跟

    喬姆斯基對氣候危機的看法以及為什麼他認為“退化”運動被誤導了

    工作自動化對人類的繁榮是否真的是一件好事

    喬姆斯基對美中政策的看法,以及為什麼他不認為中國是主要的地緣政治威脅

    未來十年發生核戰爭的可能性

    以及更多。

    (該劇集的完整記錄可以在此處找到。)


    圖像
    信用...《紐約時報》的插圖;攝影:Heuler Andrey / Agence France-Presse,圖片來源:Getty Images
    “ Ezra Klein Show”由Roge Karma和Jeff Geld製作;米歇爾·哈里斯(Michelle Harris)的事實核對;艾薩克·瓊斯(Isaac Jones)的原創音樂;傑夫·格爾德(Jeff Geld)混音。


    以斯拉·克萊因秀





    ImageCredit...Illustration by The New York Times; photograph by Heuler Andrey/Agence France-Presse, via Getty Images


    “The Ezra Klein Show” is produced by Roge Karma and Jeff Geld; fact-checking by Michelle Harris; original music by Isaac Jones; mixing by Jeff Geld.


    ****


    "𝑷𝒐𝒘𝒆𝒓 𝒎𝒖𝒔𝒕 𝒃𝒆 𝒊𝒏 𝒕𝒉𝒆 𝒉𝒂𝒏𝒅𝒔 𝒐𝒇 𝒕𝒉𝒆 𝒘𝒆𝒂𝒍𝒕𝒉 𝒐𝒇 𝒕𝒉𝒆 𝒏𝒂𝒕𝒊𝒐𝒏."
    Happy Birthday, Noam Chomsky 🎂




    ...What are people supposed to think if someone says ‘I have got an answer, we have an enemy’? There it was the Jews. Here it will be the illegal immigrants and the blacks. We will be told that white males are a persecuted minority. We will be told we have to defend ourselves and the honor of the nation. Military force will be exalted. People will be beaten up. This could become an overwhelming force. And if it happens it will be more dangerous than Germany.
    六年前預言的大師今天會怎麼說
     
    這次美國大選後,英國《獨立報》找出了六年前美國一家網路媒體Truthdig 對喬姆斯基(Noam Chomsky)的訪問。
     
    喬姆斯基集語言學、認知學、哲學等多種領域的專研於一身,不但在專業學術上著作等身,有里程碑的貢獻,還樂於以他犀利的觀察分析各種政治與社會現象(比他專業著作多了一倍以上)。因此,喬姆斯基是眾所推崇的美國代表性的知識份子,一代大師。很多人尤其感嘆他花那麼大量時間分析政治、社會現象寫作給一般社會大眾的書,那些時間如果都集中用在他的學術研究上,不知更是何種成就。因此當年911發生後,我第一時間想到出版分析這個事件的書,正是喬姆斯基的著作。
     
    2010年,Truthdig 訪問喬姆斯基,談美國的兩黨政治、國會運作、社會與媒體現象等。喬姆斯基對沒有規範的資本主義、全球化以及帝國主義一向都有最尖銳的觀察,所以當時他就觀察到美國的民主制度處在一種很脆弱的狀態,並警告美國這種民主制度的運作持續不了多久(we have little time left to save our anemic democracy)。
     
    喬姆斯基說:美國社會的情況,和德國威瑪共和的晚期有驚人的相似之處。兩者都是對議會民主的運作有巨大的失落感。最後不論保守還是自由派的政黨都被唾棄,給了納粹崛起的空間。
     
    喬姆斯基說他愛聽收音機節目,所以會聽一個右翼電台,聽那些Call in進來的人說什麼。他說那些人就像自駕飛機撞山的駕駛員一樣,他們都吐露的心聲都是:「我怎麼這麼倒楣?我什麼壞事也沒做啊!我是個敬畏上帝的基督徒。我努力為家庭工作。我有槍。我相信這個國家的價值觀,可是我的生命在垮掉!」
     
    不過,六年前的喬姆斯基說:「美國萬幸的是,還沒有出現一個直言無忌、具有領袖魅力的人(The United States is extremely lucky that no honest, charismatic figure has arisen)。
     
    他認為,在美國社會充斥著挫折感、幻滅感、自以為是的憤怒、缺乏有效溝通的情況下,如果出現這樣一個人,那就麻煩大了。
     
    喬姆斯基說:如果這個人喊出來這樣一句話呢:「我有答案了!我知道我們的敵人是誰了!」接著他說:過去在德國,那個敵人就是猶太人。今天在美國,那就是非法移民和黑人。
     
    「他會告訴我們,白人男人是被歧視的少數族群。他會告訴我們,我們要捍衛自己和國家的榮譽。」而結果,對外會訴諸軍力,對內會訴諸棒子(Military force will be exalted. People will be beaten up. )
     
    喬姆斯基說,真走到這一步,那美國要比當年的德國更危險。再接著,這位先生說了這一段話:「我不認為那是多久以後的事。如果民調沒錯的話,下次選舉得勝的將不是共和黨人,而是右翼的共和黨人,發瘋的共和黨人。」
    喬姆斯基還很感嘆地拿六年前的美國和1930年代大蕭條時代做了個比較。他說那時的情況其實更險惡,但是大家還抱著希望。而今天不是。大家對現有各種組織的憤怒、沮喪和憎恨,已經累積到必將發洩成自我毀滅的奇幻劇(It is going off into self-destructive fantasies.)
    六年前,當喬姆斯基還慶幸美國好在沒有出現一個直言無忌、具有領袖魅力的人的時候,他都看到未來的情勢會如此險惡,不知六年後的今天他又會對接下來的情勢說些什麼。
    安靜期待這位大師的發言。
    (補充)剛才一位網友提醒我他已經又接受Truthdig的訪問,在這裡: http://www.truth-out.org/…/38360-trump-in-the-white-house-a…



    America’s greatest intellectual says, “The mood of the country is frightening. The level of anger, frustration and hatred of institutions is not…
    TRUTHDIG.COM




    Full contents
    A special report on state capitalism


    The visible hand

    The crisis of Western liberal capitalism has coincided with the rise of a powerful new form of state capitalism in emerging markets(88)

    a talk with Jean Bricmont - YouTube


    Jean Bricmont (born 1952) is a Belgiantheoretical physicist, philosopher of science and a professor at the Université catholique de Louvain. He works on renormalization group and nonlinear differential equations.
    He is mostly known to the non-academic audience for co-authoring Fashionable Nonsense (also known as Intellectual Impostures) with Alan Sokal, in which they criticise relativism in the philosophy of science.[1] Jean Bricmont also collaborates with activist Noam Chomsky and campaigns on a variety of progressive causes.
    In 2005 he published Impérialisme humanitaire. Droits de l’homme, droit d’ingérence, droit du plus fort ?, published in English as Humanitarian Imperialismin 2006.
    In 2006, he wrote the preface to L'Atlas alternatif - Frédéric Delorca (ed), Pantin, Temps des Cerises [1]. He is a member of the Division of Sciences of the Royal Academy for Sciences, Letters and Arts of Belgium.
    In 2007, he wrote an article in French discussing the possibility of a US invasion of Iran. "Pourquoi Bush peut déclencher une attaque contre l’Iran"
    人道的帝国主義―民主国家アメリカの偽善と反戦平和運動の実像 [著]ジャン・ブリクモン
    人道的帝国主義―民主国家アメリカの偽善と反戦平和運動の実像 [著]ジャン・ブリクモン
    ■論理的な批判、切れ味も鋭く 本書を読み進むうちに、すぐに気づくことがある。とにかく自らの論を説明するのに、これには二つの見方があるとか、明確にすべき三つの点があるとかいった具合の記述が多いのだ………[もっと読む]

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