Quantcast
Viewing all 6917 articles
Browse latest View live

English Culture and the Decline of the Industrial Spirit, 1850-1980



English Culture and the Decline of the Industrial Spirit, 1850-1980
Book by Martin Wiener, 1981Cambridge University Press,/ Sep 13, 2004
"英國文化與工業精神的衰落 1850-1980",北京:北京大學出版社,2013

英文本幾乎可在網路讀完。中文翻譯本有一書箴言:
"國家也像人一樣在很大程度上生活在想像之中。" 
說是John Enoch Powell, (1946),可能談印度殖民地的未來。
Powell准將是英國民選的英國史上百位名人之一,5歲學希臘文(通12語言),25歲就是
正教授.....
  1. An exploration of the cultural background of modern Britain's economic malaise. Traces the development of a pervasive middle and upper class frame of mind hostile to industrialism and economic growth from the mid-19th century to the present. Google Books
  2. Published1981Cambridge University PressSep 13, 2004 

England was the world's first great industrial nation yet, paradoxically, the English have never been comfortable with industrialism. Drawing on a wide array of sources, Martin Wiener explores the English ambivalence towards modern industrial society. His work reveals a pervasive middle- and upper-class frame of mind hostile to industrialism and economic growth. From the middle of the nineteenth century to the present, this hostility shaped a broad spectrum of cultural expression, including literature, journalism, and architecture, as well as social, historical and economic thought. In this new edition Wiener reflects on the original debate surrounding his work and examines the historiography of the past twenty years.


關於雍正(1678~1735)

Jonathan Spence(史景遷)《叛國之書》/《雍正王朝之大義覺迷》

就稗官野史,清史有好多恢詭譎怪的疑案。就時空之隔與風尚之異,清朝離我們既接近又遙遠,想像美感帶給我們獨特的魔力。就以古鑑今,對當代中國的觀察,清朝奠定了現代中國的疆域基礎,更在語言、民俗、學術等各方面塑形了中國:下自小農上至知識分子,多民族中國的集體潛意識在清朝凝而神之,至今未散。清朝不但是銜接傳統中國與當代世界的環釦,更是北亞王朝與漢族典儀的整合,是封貢體制的極致發揮。要了解中國,讀清史。要窺探東亞,讀清史。甚至要探悉比較世界各文明,你也不得不讀清史。
你以為學校已經教過你清史?其實錯了。你不知道康熙帝在親自遠征漠北時用滿文寫信寄回北京,娓娓動人。你知道康熙帝精通滿漢文,你不知道他對佛萊明語感興趣、對朝鮮語言文字下過功夫。你知道環繞著雍正帝有一堆奇妙的傳說,血滴子、刺客都出現了,你不知道他解放了明朝以來的賤民階級,給予他們較平等的社會地位。你知道雍正因為羅馬梵諦岡方面態度的蠻橫而禁教,但是你不知道其實雍正仍然繼續任用西洋人,「甚至為平準錢價而積極採購洋銅、倭銅,對外交易」。你知道乾隆帝喜歡漢族藝術畫作,經常題詩,你不知道他同時兼通滿蒙語言外,還會藏語與維語。你知道乾隆有個傳奇的香妃,你不知道乾隆規劃戰爭,行軍三千七百公里,在後勤補給上面面俱到,比起拿破崙行軍兩千四百公里征俄竟困頓委靡而歸,相形之下乾隆在佈局上可說更勝一籌。
清史裡有太多東西你還不知道!
清朝既是傳統中國王朝,又不是傳統中國王朝。清朝是傳統中國王朝。
傳統中國主流漢文化在清朝發展至絢爛:嚴謹踏實講究論證精神的考據之學在清朝發展出來了,為生民立命而重實踐的理學名臣在清朝培育出來了,甚至漢文小說藝術在結構上、深度上與取材上也都有著長足的發展。清朝不是傳統中國王朝。他是東北亞民族征服並整合歷史經驗的成功:滿、蒙文史書、佛經、藏文大藏甘珠爾乃至密宗梵咒,都在清朝大量整理並出版。滿洲君主既是漢土的皇帝,又是北亞的可汗。對外一改宋明輕邊區的觀念,重視少數民族自治區,對疆域寸土必爭,這也是有別於傳統的特色。當然,清朝卻仍然又是傳統東亞文化的典型:約當同一時間,日本、朝鮮、乃至清朝,在迎向太平的同時,面對新興起西方,卻都不約而同地僅採取有限度的開放而在大方向上是封閉的。要了解傳統保守的東亞,讀清史也是不可或缺的。
要讀清史,開創有清盛世的三位關鍵君主:康熙、雍正、乾隆,都是你必須再深入了解的。蔣兆成、馮爾康、唐文基三位教授,都是學有專長的專家。由他們三位執筆撰寫盛清三帝的傳記,值得你來讀!
Image may be NSFW.
Clik here to view.
Image may be NSFW.
Clik here to view.
Image may be NSFW.
Clik here to view.
Image may be NSFW.
Clik here to view.
Image may be NSFW.
Clik here to view.
Image may be NSFW.
Clik here to view.
Image may be NSFW.
Clik here to view.
大清帝國以康熙、雍正、乾隆三朝國力達到顛峰,而這三朝前後長達一百三十八年,其疆域除了漢人故地以外,還轄有蒙古、新疆、西藏、臺灣,這帝國版圖界定了今日中國人對固有疆域的認識。
清世宗雍正(1678~1735),姓愛新覺羅,名胤禛,康熙帝第四子。45歲登基,在位時間13年,享年58歲。作為帝國之君,他上承康熙,下啟乾隆,奠定「康乾盛世」的來臨。
雍正帝敢於「振數百年頹風」,革舊除弊,是清朝「康乾盛世」的有力推進者,是中國歷史上少數值得肯定的傑出皇帝之一,本書並對過去有關雍正偏頗的評論和誣蔑作了辨析,提出了個人的見解。
全書涵蓋了雍正朝的制度變革、文字獄等事件、用人唯才等敍述,皆是透過雍正的視野來觀察這些作法的時代目的。
本書首先寫出皇子時代的雍正─前半生的歷史─是雍正史的第一階段;次寫雍正卽位後的重大政事,這包括第二章至第十二章;再寫雍正的爲人、作風、遺政─見第十三章至第十六章,末章(第十七章)總結雍正五十八歲璀璨的一生─是第二階段。
Image may be NSFW.
Clik here to view.
Image may be NSFW.
Clik here to view.
Image may be NSFW.
Clik here to view.
Image may be NSFW.
Clik here to view.
Image may be NSFW.
Clik here to view.
Image may be NSFW.
Clik here to view.
Image may be NSFW.
Clik here to view.
Image may be NSFW.
Clik here to view.
Image may be NSFW.
Clik here to view.
Image may be NSFW.
Clik here to view.
Image may be NSFW.
Clik here to view.
Image may be NSFW.
Clik here to view.
Image may be NSFW.
Clik here to view.
Image may be NSFW.
Clik here to view.
Image may be NSFW.
Clik here to view.
Image may be NSFW.
Clik here to view.
Image may be NSFW.
Clik here to view.
Image may be NSFW.
Clik here to view.
Image may be NSFW.
Clik here to view.
Image may be NSFW.
Clik here to view.
Image may be NSFW.
Clik here to view.
Image may be NSFW.
Clik here to view.
Image may be NSFW.
Clik here to view.
Image may be NSFW.
Clik here to view.
Image may be NSFW.
Clik here to view.
Image may be NSFW.
Clik here to view.
Image may be NSFW.
Clik here to view.
Image may be NSFW.
Clik here to view.
Image may be NSFW.
Clik here to view.
雍正的形象,在人們的心目中,至少在一部分人的印象裏,是一個篡位者,屠戮功臣、施行特務統治的殘忍的暴君,又是有著重大事迹的帝王。作者在檢閱了有關他的大部分資料之後,認爲他敢於革除舊弊,辦事雷厲風行,是康乾盛世的有力推進者,是促進淸朝歷史發展的政治家,是可以肯定的歷史人物,因而覺得過往的評論不夠中肯,誣罔較多,想爲他有所辯白,這是寫作本書的第一個目的。第二,作好歷史人物的評論,要避免概念化的毛病,「千人一面」,則不是成功的研究。對歷史人物所特有的東西,如他具有怎樣的秉賦,有什麼樣的信念,愛憎如何,性格又是怎樣的,要作必要的考察,否則難於還原歷史人物的本來面貌。雍正具有鮮明個性,而且充分表現出來了,對他的研究可以很好地闡明個人在歷史上的地位及其是如何發揮作用的。筆者就是想作這方面的嘗試。第三,歷史人物的個人意志來源於他所在社會的現實,並在那種情況下對社會發生影響,因而要想瞭解它的產生和作用,就不能離開誕育它的特定的社會條件,恩格斯要求人們重視個人「動機背後並且構成歷史的眞正的最後動力的動力」,要注意「使廣大羣眾、使整個整個的民族、以及在每一個民族中間又使整個整個階級行動起來的動機」①。
把個人放到時代社會中考察,旣可以闡明個人的歷史地位,還可以揭示那個社會的發展狀況。這就是從一個人看一個時代,這是進行歷史研究的目的之一,也是一種研究方法。筆者奢想,通過雍正史的研討,概括雍正生活時代的社會歷史,說明它的狀況和特點,探索中國封建社會進程中一個階段的發展規律。
爲了把這些設想表述出來,採取這樣一些寫作方法:
較多採摘歷史資料,加以排比臚列,用資料表現雍正和他的時代。根據資料,筆者作簡要的分析。這種評論也許是不確切的,甚而是錯誤的,但讀者若能通過那些資料作出自己的判斷,筆者就感到欣慰了。本書爲較多容納材料,可能做的不恰當,讓大段引文,使篇幅繁冗;還有一些考證,令人讀之如同嚼蠟。凡屬缺陷,應當改正,而致此之由,則在於想用資料說話。
本書不僅包括主人公雍正的歷史資料和敍述,還包含他生平事迹以外的、他那個時期的制度、事件、人物的材料和敍述,換句話說是以他爲中心,凡和他的活動有聯繫的事物,盡可能地給予說明,以期達到透過雍正觀察他的時代的目的。
對雍正的思想、才能、性格、作風,企圖有所揭示,惟是做的非常不夠。
寫人物傳記,要考慮人的自然法則,卽靑少年、中年、老年的不同時期,還要考慮某個特定人物的歷史特點。具體到雍正,皇子時代四十五年,做皇帝十三年,他所接觸和處理的事務是多方面的,可以和應該描繪的,不像科學家、文學家、軍事家等那樣單純,要把他的複雜的歷史面貌表現出來,就要將他生命演進與生平事迹兩方面結合起來,劃分他的歷史階段,認淸他的主要事迹,作有秩序的、分類的敍述。因此將雍正史分爲兩大階段,五大部分,十七個方面進行交待,卽第一章,皇子時代的雍正,是他的前半生的歷史,也是雍正史的第一部分;第二部分,本書第二至十二章,是雍正卽位後的重要政治活動,也卽雍正朝的重大政事;第三部分,爲本書的第十三至十五章,他的爲人、作風;第四部分,第十六章,他的死亡和遺政;第五部分,最後一章(第十七章),總結他的一生和時代,提出一些帶有規律性的問題。
本書名稱,若以寫作的內容來定,可以叫做《雍正及其時代》;若從本書夾敍夾議的寫法,也可取名《雍正評傳》;或者還可擬用其他的名字。爲名實相副,爲從簡、從俗,取了現在的書名——《雍正傳》。
Image may be NSFW.
Clik here to view.
Image may be NSFW.
Clik here to view.
Image may be NSFW.
Clik here to view.
Image may be NSFW.
Clik here to view.
Image may be NSFW.
Clik here to view.
Image may be NSFW.
Clik here to view.
Image may be NSFW.
Clik here to view.
第一章 儲位鬥爭的勝利者
侍從康熙巡幸四方

康熙十七年十月三十日(西元一六七八年十二月十三日),一個嬰兒誕生在皇宮中,這就是對後來中國歷史的進程發生一定影響的雍正帝。他的父皇康熙這時已有了十個兒子,他是到得並不算早的第十一個了,但是淸朝皇室規矩,皇子夭折,卽不敍齒,康熙的血胤幼殤的很多,在這嬰兒的哥哥中,當時健康成長的只有康熙十一年(一六七二年)、十三年(一六七四)、十六年(一六七七年)先後出世的胤禔、胤礽和胤祉三人,因此算起行次來,這嬰兒倒居了第四位,成了康熙的皇四子。這個行次,在康熙全部三十五個兒子中居於前列,是年長皇子,占據從事政治活動的有利地位。後來他的繼承皇位,被一些人說成是篡改康熙「傳位十四子」遺詔中的「十」字,因此,皇四子的行次不可不加注意。
皇四子的父皇給他賜名胤禛,胤字是他們兄弟的排行,凡是敍齒的,都用的這個字;禛,讀音zhēn(音眞),按照許愼《說文解字》的解釋,禛意是「以眞受福」。康熙希望這個兒子對上天和祖宗眞誠,以此得到福祐。康熙給兒子們取名都從示字旁,所用禔、礽、祉等字,都寄予有福的願望。且不管康熙的原意,在胤禛成爲皇帝以前,就用這個符號來代表他。胤禛的生母吳雅氏,是滿洲正黃旗人。胤禛是她生的第一胎男孩,其高興心情可想而知。她這時還是一般的宮人,第二年才被封爲德嬪,有了一定地位。胤禛的外祖父威武,擔任護軍參領,胤禛繼位後追封他爲一等公。所以胤禛的生母和外家並不高貴,不能給他帶來在皇子中的特殊地位。胤禛童時受孝懿仁皇后的撫養。這位皇后是一等公侈國維的女兒,康熙生母孝康章皇后的侄女,康熙十六年(一六七七年)被封爲貴妃,二十年(一六八一年)晉爲皇貴妃,二十八年(一六八九年)病死前被册立爲皇后。孝懿仁皇后沒有生過男孩,只產一女也殤逝了,故而育養德嬪之子,年幼的胤禛因她尊貴,很可能有意識地巴結她。 康熙二十二年(一六八三年),虛齡已屆六歲的胤禛①,入尙書房讀書。學習的課程有滿、漢、蒙古文和經史等文化課,還有騎射、游泳等軍事、體育課目。據法國傳敎士白晉在一六九七年講,他見康熙前十四位皇子受敎育的情形是:
這些皇子的敎師都是翰林院中最博學的人,他們的保傳都是從青年時期起就在宮廷裏培養的第一流人物。然而,這並不妨礙皇帝還要親自去檢查皇子們的一切活動,瞭解他們的學習情況,直到審閱他們的文章,並要他們當面解釋功課。
皇帝特別重視皇子們道德的培養以及適合他們身分的鍛鍊。從他們懂事時起,就訓練他們騎馬、射箭與使用各種火器,以此作為他們的娛樂和消遣。他不希望皇子們過分嬌生慣養;恰恰相反,他希望他們能吃苦耐勞,盡早地堅强起來,並習慣於簡樸的生活。這些就是我從神父張誠那裏聽説的,是他在六年前隨同皇帝在韃靼山區旅行囘來後講的。起初,君王只把他的長子、第三個和第四個兒子帶在身邊;到打獵時,他還叫另外四個兒子隨同前往,其中年齡最大的只十二歲,最小的才九歲。整整一個月,這些年幼的皇子同皇帝一起終日在馬上,任憑風吹日曬。他們身背箭筒,手挽弓弩,時而奔馳,時而勒馬,顯得格外矯捷。他們之中的每個人,幾乎沒有一天不捕獲幾件野味囘來。首次出獵,最年幼的皇子就用短箭獵獲了兩頭鹿。
皇子們都能流利地講滿語和漢語。在繁難的漢文學習中,他們進步很快。那時連最小的皇子也已學習「四書」的前三部,並開始學習最後一部了。皇帝不願讓他們受到任何細微的不良影響。他讓皇子們處在歐洲人無法辦到的最謹愼的環境中成長起來。皇子們身邊的人,誰都不敢掩飾他們的哪怕是一個微小的錯誤。因為這些人明白,如果這樣做,就要受到嚴厲的懲罰。
白晉認爲包括胤禛在內的康熙諸皇子受到的是比較全面的敎育,而康熙本人對他的兒子們的敎育非常重視和嚴格。白晉講的基本符合史實。康熙對兒子的學習抓得很緊。他看到一些貴胄之家,對子孫過分嬌生慣養,長成大人,不是「痴呆無知」,就是「任性狂惡」,反而害了子孫,因此做「上人」的,對子孫必須從幼年就嚴格管敎③。他的七兒子胤礽,是孝誠仁皇后所生,長到兩歲,册立爲太子,年至六歲,命他讀書,爲他挑選張英、熊賜履、徐元夢、尹泰、顧八代、湯斌、耿介、汪灝等人做講官,張、熊、徐、尹等都官至大學士,熊、湯等爲著名理學家。
皇太子的師傅基本上就是同時就讀的皇子的老師,胤禛從張英學習四書五經,向徐元夢學習滿文。與胤禛關係最密切的是顧八代,他是滿洲鑲黃旗人,康熙一十三年(十六八四年)以侍講學士入値筒書房,後升禮部尙書,三十七年(一六九八年)休致,一直在內廷敎育胤禛和其他皇子。退職後過淸貧的生活,死時家中沒錢辦理喪事。胤禛說他「品行端方,學術醇正」④。親自給他理喪,出資安葬他。他的廉潔奉公,無疑給胤禛深刻的印象和一定的影響。康熙在繁忙的政務中,給皇太子講四書五經,據記載,有一階段,每天在臨朝御政之先,令太子將前一日所授的書背誦復講一遍,達到熟記和融會貫通才告結束⑤。他特別著重以孔孟的經書敎育兒子們,對他們說:「凡人養生之道無過於聖人所留之經書,故朕惟訓汝等熟習五經四書性理,誠以其中凡存心養性立命之道無所不具故也。」⑥少年和靑年時代的胤禛,受父皇和師傅的嚴格管束,從事以四書五經爲主要內容的學習,掌握了滿文、漢文等文化知識和騎射技術,鍛鍊了身體,養成讀書和思考問題的習慣。這個時期,作《春園讀書》、《夏日讀書》等詩歌,敍述其在春光明媚之時,「諷詠蕓編興不窮」,酷暑難耐之日,靜坐書齋習讀⑦,都是寫實的。淸朝敎育皇子的方法頗成功,康熙、雍正、乾隆、嘉慶等皇帝都是這樣培養出來的。這個方法,爲許多讀書人所稱道,乾隆時目睹其事的趙翼,富有感情地寫道:
本朝家法之嚴,卽皇子讀書一事,已迥絶千古。余內直時,屆早班之期,率以五鼓入,時部院百官未有至者,惟內府蘇拉數人(謂閑散白身人在內府供役者)往來。黑暗中殘睡未醒,時復倚柱假寐,然已隱隱望見有白紗燈一點入隆宗門,則皇子進書房也。吾輩窮措大專恃讀書為衣食者,尚不能早起,而天家金玉之體乃日日如是。旣入書房,作詩文,每日皆有程課,未刻畢,則又有滿洲師傅敎國書、習國語及騎射等事,薄暮始休。然則文學安得不深?武事安得不閑熟?宜乎皇子孫不惟詩文書畫無一不擅其妙,而上下千古成敗理亂已瞭解於胸中。以之臨政,復何事不辦?因憶昔人所謂生於深宮之中,長於阿保之手,如前朝宮廷間逸惰尤甚,皇子十餘歲始請出閣,不過官僚訓講片刻,其餘皆婦寺與居,復安望其明道理、燭事機哉?然則我朝諭敎之法,豈惟歷代所無,卽三代以上,亦所不及矣。
他雖意在頌揚淸朝,然敍事是屬實的。
胤禛在尙書房讀書的同時,跟隨康熙四處巡幸,有時還奉命出京辦事,得到接觸社會的機會。
康熙在平定三藩叛亂和統一臺灣後,把注意力轉向北方,幾乎每年到塞外巡視,每次指令幾位皇子侍行。二十五年(一六八六年)七月,康熙北巡塞上,九歲的胤禛首次隨同出發,同去的有胤禔、胤礽、胤祉。他們一行出古北口,到博洛和屯(今河北省沽源縣北),西南行,至西爾哈烏里雅蘇臺(今張北縣西),於八月下旬回到北京。此後,康熙出塞,胤禛經常奉命侍從,所經過的地方,大體是今天河北省承德和張家口兩個專區。康熙出塞,名爲「秋獮」,與蒙古王公共獵,實是會見蒙古族首領,密切他們同淸朝中央政府的關係,穩定對這個地區的統治。胤禛多次侍行,看到乃父的巡幸作用,他說「一人臨塞北,萬里息邊烽」⑨,不過說得誇大了些。
康熙二十九年(一六九○年),漠西準噶爾部首領、野心家噶爾丹攻占漠北喀爾喀蒙古,迫使哲布尊丹巴胡土克圖率眾南下,康熙諭其撤兵,歸還喀爾喀故地,噶爾丹不聽勸阻,兵犯內蒙,揚言「奪取黃河爲馬槽」⑩,妄圖吞滅淸朝。在這嚴重威脅面前,康熙任命裕親王福全爲撫遠大將軍,領兵抵抗,並命十九歲的皇長子胤禔爲副將軍從征,這是用皇子領兵的開始。康熙於三十五年(一六九六年)親征噶爾丹,命皇子參與軍事,胤禛時年十九歲,奉命掌管正紅旗大營,隨從他的有公長泰、都統齊世、原任尙書顧八代等人,與此同時,皇五子胤祐、皇七子胤祺、皇八子胤禩分別管理鑲黃旗、正黃旗、鑲紅旗大營。他們於二月出發,四月,胤禛與諸兄弟參加對噶爾丹進兵與否的議論,六月回到北京。
這一次的統兵,胤禛和他的三位弟弟不過是坐鎭的意思,沒有眞正指揮打仗,但是行軍議事,也是得到一次軍事訓練。這次出征的第二年,康熙再次親征,兵至狼居胥山,徹底擊敗噶爾丹分裂勢力。此役胤禛沒有參加,然而他很關心這次戰鬥,作《狼居胥山大閱》、《功成回鑾恭頌二首》,讚揚乃父用兵功業:「指顧靖邊烽,懷生盡服從。遐荒歸禹甸,大漠紀堯封。廟算無遺策,神功邁昔踪。凱旋旌耀日,光景霽天容」(11),也表現了他對這場戰爭的看法。
如今的永定河,淸初名叫無定河,又叫渾河,經常泛濫,河道遷徙不常。康熙爲了治理它,不斷出發考察,三十三年(一六九四年)胤禛隨同康熙出京,沿北運河到天津,西行,至霸州的信安鎭、白洋淀西淀東口的趙北口,瞭解無定河下游的情況。康熙在三十六年(一六九七年)徹底粉碎噶爾丹勢力後,大力治理無定河,次年,疏濬河道一百四十五里,築堤一百八十餘里,爲了表示希望它不再改道的願望,特賜名「永定」。三十九年(一七○○年)十月,帶領胤禛和皇十三子胤祥視察永定河南岸工程,駐在宛平縣榆岱,胤禛拔出樁木,發現短小不合規格,報告父皇,要求返工(12)。次年四月,胤禛、胤禔、胤祥再次陪同乃父視察永定河,奉命作紀行詩《閱永定河應制》,他對他們父子的任務寫道:「帝念切生民,鑾輿冒暑行。繞堤翻麥浪,隔柳度鶯聲。萬姓資疏濬,羣工受准程。聖心期永定,河伯助功成。」(13)詩未見佳,亦可作康熙間修治永定河的記實。
康熙爲著治理黃河、淮河、裏運河,聯絡江南士大夫,於二十三年(一六八四年)起,不斷南巡視察河工和瞭解民情。開始幾次,胤禛沒有機會參加。四十一年(一七○二年),他與胤礽、胤祥侍從父皇南巡,行至德州,胤礽生病,就住了下來。胤禛、胤祥依照宮中尙書房的規矩,照常讀書習字。一天,康熙召見翰林院侍讀學士陳元龍等談論書法,議得興起,引諸臣至皇子讀書處,胤禛弟兄正在書寫對聯,「諸臣環立諦視,無不歡躍欽服」(14)。胤禛臨帖很多,善於模仿,曾學書乃父字體,頗爲相像,得到嘉獎(15)。話說回來,皇太子的病一時好不了,康熙無心南下,遂帶著兒子們返回京城。數月後,於四十二年(一七○三年)正月,原班人員啓程南行,途經濟南,參觀珍珠泉、趵突泉,過泰安州,登泰山。路經沂州府蒙陰縣,胤禛作《過蒙陰》詩。在宿遷縣閱堤工,渡過黃河。(16)經淮安、揚州,在瓜洲渡長江,到達鎭江,登金山江天寺,康熙爲它書寫「動靜萬古」匾額,胤禛作詩云:「宿暮金山寺,今方識化城。雨昏春嶂合,石激晚漸鳴。不辨江天色,惟聞鐘磬聲。因知羈旅境,觸景易生情。」(17)繼續南行,乘船至蘇州,作《雨中泊楓橋遙對虎阜》詩記興:「維舫楓橋晚,悠悠見虎邱。塔標雲影直,鐘度雨聲幽。僧舍當門竹,漁家隔浦舟。茫茫吳越事,都付與東流」(18)。尋經嘉興,到杭州,在演武廳,同父皇、兄弟等射箭。至此回還,道過江寧(今南京市),康熙命從行大學士祭明太祖孝陵。後經由江蘇沛縣、山東東平州(今東平縣)、東昌府(今聊城)等地,於三月間回到北京。這一次,康熙携同胤禛弟兄察閱了徐家灣、高家堰、翟家壩堤、祥符閘、新河口等處。因黃淮工程,頒詔天下,賜復條款三十八項。此行使胤禛瞭解了黃淮河道工程及江南民情,也是他終身唯一的大江南北之行。
淸朝皇帝遠祖的墳墓永陵在興京(今遼寧省新賓縣),開國君主努爾哈赤的福陵、皇太極的昭陵都在盛京(今藩陽市),順治的孝陵又在直隸遵化縣。順治母親孝莊文皇后的屍體放置在孝陵的旁邊,稱暫安奉殿。中國古人認爲祭祀和兵戎是國家的大事,祭祖又是祭祀的重要內容。淸朝皇帝對於祭祖異常重視,國家有重大事情,或用兵的勝利,都要祭告祖陵。康熙因係孝莊文皇后所扶立,對他的祖母生前極力孝養,死後虔誠致祭。他的兒子們還沒有長大成人時,康熙就帶著他們祭祖,年歲稍長,就讓他們獨立進行祭祀活動。二十七年(一六八八年)十二月,孝莊文皇后一周年忌辰,康熙率同胤禛和胤禔、胤祉去暫安奉殿致祭,次年的忌辰,命皇太子率領胤禛、胤祉前往行禮。三十五年(一六九六年)、四十五年(一七○六年)的忌辰,胤禛獨自奉命往祭。三十七年(一六九八年),因平定噶爾丹之亂,康熙親往盛京拜謁祖陵,七月出發,出古北口,穿越蒙古諸部落,到松花江及吉林烏拉(今吉林市北),南下至興京祭永陵,到盛京祭福、昭二陵。取道山海關,於十一月回到京師。這一次侍行的皇子很多,據《淸聖祖實錄》記載,有胤禔、胤祉、胤祺、胤祐、皇九子胤禟、皇十子胤䄉及胤祥(19),沒有胤禛,但是他有《侍從興京謁陵二首》詩,表明他跟隨乃父祭祀了盛京三陵(20)。他在詩中寫道:「龍興基景命,王氣結瑤岑。不睹艱難迹,安知啓佑心。山河陵寢壯,弓箭歲時深。盛典叨陪從,威儀百爾欽。」(21)這是雲遊了淸朝發祥之地,獲得祖宗創業艱辛的深切感受。祭祖之外,胤禛參與了其他祭祀。三十二年(一六九三年),淸朝政府重修闕里孔廟落成,康熙令胤祉帶領胤禛、胤禩等前往曲阜參加祭祀大典(22),年僅十五歲的胤禛進行了尊師重道的活動。
康熙多次去佛敎聖地五臺山朝佛,四十一年(一七○二年)正月,胤禛與胤礽、胤祥隨同父皇出發,經法水、易州、阜平,過龍泉關時胤禛朝佛有感,作詩云:「隔斷紅塵另一天,慈雲常護此山巅。雄關不阻驂鸞客,勝地偏多應迹賢。兵象銷時崇佛像,烽煙靖始颺爐煙。治平功效無生力,贏得村翁自在眠。」(23)尋至五臺,暢遊諸大寺。回程經正定,閱視永定河堤,返抵京師。
康熙四十七年(一七○八年)第一次廢太子事件以前的胤禛,卽三十歲前的皇四子,比較多的是過書齋的生活,較少獨立活動,但不時隨從乃父巡幸,東北到滿洲發祥地的遼吉,東南至富甲天下的蘇杭,西去山西五臺,北達內蒙古草原,足跡半個中國。在巡遊中,瞭解各地經濟出產,山脈河川,水利運輸,民風習俗,宗敎信仰,名勝古蹟,歷史問題;觀察了康熙處理政事,考察了地方行政和吏治,獲得了官場情況的第一手資料。所以巡閱四方,是年輕的胤禛向社會學習的好方式。這對他日後參加皇位的爭奪和繼位後的統治,都有極重要的意義。使皇子接觸社會,不把他們關在宮牆之內,不使他們只同太監、宮女爲伍,增長他們的見識,這是康熙培養皇子的一個良好的方法。

'The Evolution of Physics'.

蕭公權著《中國政治思想史研究》《迹園文存》/ 汪榮祖編/ 《蕭公權學記》

《迹園文存/ 》蕭公權著; 汪榮祖編. 出版項, 臺北市: 雲天出版社, 民國59/1970 ...
蕭公權著《迹園文錄》,汪榮祖編,台北:聯經,1983 (錯字不少,不過,內容豐富;未與幾乎是盜版的《迹園文存》比較。) 可參考處很多,譬如說蕭教授在1934年7月發表在
《獨立評論》的《如何整頓大學教育》宏文,可能可以傳世。

中國正害著嚴重複雜的政治病。一切社會的不安,人民的苦痛,都是這個病的癥候和結果。
最觸目易見的一個病態是貧富甘苦的極度不均。富者不只是"田連阡陌",甚至存款充於外國。貧者不祇是"地無立錐",甚至一日三餐難有把握。然而這不是一個單純的經濟失調症,而是一個複雜的政治腐化症。....... 蕭公權《中國的政治病》(1947)


 著《中國政治思想史研究》,昔日零星讀,沒筆記,後悔。


(1958年,蕭公權早 年的弟子普林斯頓大學教授牟復禮(F W Mote)開始譯此書為英文,首卷於一九七. 八年由普林斯頓大學出版, ... )... Kung-chuan Hsiao and FW Mote, A History of Chinese Political Thought. Vol.1: From the Beginnings to the Sixth Century AD. Roger Ames, The Art of Rulership. ...

A History of Chinese Political Thought, Volume One: From the Beginnings to the Sixth Century A.D. Paperback – January 1, 1979
by Kung-chuan Hsiao (Author), F.W. Mote (Translator)

---
紀念蕭公權院士110年誕辰」國際學術研討會議程

日  期:2007年12月7~8日(週五、六)

地  點:臺灣大學文學院演講廳

蕭公權學記 - Google 圖書結果

汪榮祖,黃俊傑 - 2009 - Philosophy - 323 頁
蕭公權: (中國政治思想史參考資料緒論) ,收入《園文存》(臺北:雲天圖書公司, 1970 年) ,頁40 。參閱上文,頁41 。蕭公權先生在1960 年代與筆者談話時語及。 ...

這就是蓬皮杜Georges Pompidou/ Jacques Chirac (My Life in Politics)

2012年12月13日06:59 AM

希拉克回憶錄——法國右翼政治入門


Image may be NSFW.
Clik here to view.

戴高樂主義政治家阿蘭•朱佩(Alain Juppé)上周說:“在政界,除非肉體死亡,否則總有可能捲土重來。”他指的是法國主要反對黨人民運動聯盟(UMP)。在經歷了一場激烈的領導權爭奪以後,他稱之為“瀕死但未亡”。這場爭奪險些導致這個他曾領導的政黨分崩離析。
但他也可能指的是他的政治生涯導師、法國前總統雅克•希拉克(Jacques Chirac)。在法國政壇現存偉大的政治家中,希拉克位列其中。在2002年建立UMP的正是希拉克,此舉試圖結束法國中右翼長達數十年自相殘殺式的分裂,而希拉克自身的經歷證明,他擅長利用這些爭鬥一步步問鼎總統寶座。任何想要搞清楚當前混亂狀況的人,都可以把希拉克的最新英譯版回憶錄當作入門讀物。
一位傳記作者友人整理了對希拉克的訪談,寫成了《我的政治生涯》(My Life in Politics)一書,記述了希拉克擔任要職的40年經歷。該書從希拉克在喬治•蓬皮杜(Georges Pompidou)手下擔任就業國務秘書開始,希拉克說,當時他勸阻了工會參加1968年的學生抗議活動。本書終於希拉克第二次擔任法國總統,在第二任期內他因反對伊拉克戰爭而遭美國深惡痛絕,不過在國內飽受讚譽。
在這40年中,不管是擔任總理還是總統,在大多數時間裡,希拉克要么與左翼、要么與信仰相仿的競爭對手一起治理法國。在這二者中,與不同陣營構建的共存政府看上去更加容易駕馭一些。希拉克在社會黨總統弗朗索瓦•密特朗(François Mitterrand)任職期間擔任法國總理時,艱難推動經濟改革的通過,這段經歷讓他領教了這種安排的“優缺點、微妙博弈與有利制約”。當希拉克接任密特朗入住愛麗舍宮時,密特朗把家具擺回原位,就像當初夏爾•戴高樂(Charles de Gaulle)的擺設一樣,展示了對希拉克的歡迎姿態,這就是二人的友好關係。
比之下,希拉克與同一陣營的競爭對手之間的關係總是矛盾重重。按照希拉克的敘述,與如今UMP兩敗俱傷的鬥爭關聯最大的,是他與中間派總統瓦萊里•吉斯卡爾•德斯坦(Valéry Giscard d'Estaing)之間的長期不和;後來與愛德華•巴拉迪爾(Edouard Balladur)之間的鬥爭;以及他對極右翼國民陣線(National Front)崛起的處理。
希拉克描述吉斯卡爾“睿智過人,但明顯喜歡輕視別人”。巴拉迪爾是台“冷酷的計算器,毫不掩飾地認為自己比我身邊的人優越。”
這樣的敵意產生了長期後果。在吉斯卡爾執政時,希拉克擔任法國總理,這段任期很短暫,充滿艱辛。隨後希拉克創建了戴高樂主義的保衛共和聯盟(RPR),吸引走了人們對總統的法蘭西民主聯盟(UDF)的支持。他先是與吉斯卡爾一派的候選人競爭,當上了巴黎市長,然後在1981年直接與吉斯卡爾在總統大選中競爭,分走了一部分中右翼的選票,讓密特朗撿了便宜。
在此類行動中,希拉克被指責為老謀深算的叛徒。反過來,他從未原諒他曾經的門徒巴拉迪爾,因為後者在1995年的總統競選中與他競爭,也從未原諒另一位門徒尼古拉•薩科齊(Nicolas Sarkozy),因為薩科齊在那次總統競選中支持巴拉迪爾。
今天右翼的分裂似乎既是源於個人野心或者個人仇隙,也是源於意識形態。不過讓這一理論變得複雜的是,UMP令人不安地混合了各種政治傳統——戴高樂主義者、中間派人士、自由派和一股更為強硬、更加民粹化的右翼。薩科齊的領導為這個聯盟注入了活力,但一點也沒有澄清其思想。



在这一点上,希拉克的经历也使问题更加清楚。希拉克从来不是右翼理论家,他坚决拒绝与让-玛丽•勒庞(Jean-Marie Le Pen)创建的党派和解。这位前总统曾就移民的“噪音和味道”发表过一番愚蠢的言论,并且从未洗刷掉这段污点。不过他绝不排外,反而真心地欣赏阿拉伯世界和其他文明。在这本充满自我辩解的书中,希拉克明确表示,他的一个遗憾是在勒庞进入2002年第二轮选举之后,未能组建一个民族团结的政府。
上个月,希拉克年满80岁,据称他对其政党中的苦差事兴致缺缺。即便在退休后因过去的贪腐丑闻名誉受损,希拉克在民调中始终是法国最具人气的政治人物。
UMP可能需要认真思考那些赋予他如此广泛吸引力的品质。希拉克面对选民总是和蔼可亲,平易近人,始终能够符合选民心目中一位总统应该如何表现的设想——不管是在竞选活动中尽情大吃地方佳肴,还是在世界舞台上以恢宏的方式维持法国价值观。
尽管他精通权谋,为达目的不择手段,但希拉克赞成戴高乐关于法国的愿景:法国“在全世界的命运和地位,根源于其对本国特质的极致了解”。







Pompidou, Georges Jean Raymond (zhôrzh pôNpēdū'), 1911-74. French political leader, president of France (1969-74). Georges Pompidou taught school and then served in World War II until the fall (1940) of France, when he returned to teaching. In 1944 he served on the staff of General de Gaulle and later became a trusted aide. Joining the Rothschild banking firm in 1954, he soon became its director-general. He remained an important adviser to de Gaulle, and in 1962 President de Gaulle named him premier. During the 1968 strikes and riots in France, Pompidou emerged as a strong figure. Not long afterward, however, he was dismissed as premier by de Gaulle. After de Gaulle's resignation in 1969, Pompidou was elected president with the solid support of the Gaullist party. He immediately began to deal with France's economic problems, devaluing the franc and instituting a price freeze. In foreign affairs, he attempted to improve French relations with other countries and rejected de Gaulle's policy of opposition to Great Britain's entry into the European Community. Despite rumors that he was gravely ill Pompidou remained in office; he died of cancer.


這本書內幾乎無一法文字。 無索引。

Image may be NSFW.
Clik here to view.

這就是蓬皮杜

阿兰·弗雷勒让,历史学家,已发表多部 出色作品,其中有《铁匠师 傅,一个里昂家族的传奇(1736-1886)》(1996)、《拿破仑四世,毁灭的命运》(1997)、《安德烈-雪铁龙一路易·雷诺,一场无情的较 量))(1998)、《发明家的土地》(2000)、《从居唐贝尔到比尔加特》(2001)、《非洲的呼唤》(2002)、《标致家族,两个世纪的冒 险》(2006)。
***

 与诸多人物不同,乔治·篷皮杜这位共和国伟大的总理和伟大的总统生来没有对权力的癖好。他之所以登上政治舞台,主要是出于求知欲和对一位杰出人物的忠诚所驱使,而非个人野心。

   在生前的五十二年,他曾先后担任过中学教师、特派员、旅游助理于事、政治学院副教授、最高行政法院审案官和一家银行的代理人。乔治·蓬皮杜干活节奏飞 快,凭一时兴致工作,以充分利用并享受业余时光。他是1位好丈夫,好同事,他充满活力,业余爱好烹饪、绘画和诗歌。这位具有超常天赋者却也是怀疑论者。他 幽默地注视生活,并后退一段距离审视现实。

  1958年6月至12月,他在戴高乐将军身旁默默无闻地工作,提供了极其宝贵的支持,帮助将军奠定 了第五共和国体制基石,并为使法兰西顺利加入欧洲经济共同体做好准备。但六个月之后,当使命完成时,他立即离开了金碧辉煌的爱丽舍宫,恢复自由的生活。在 经历这一短暂的插曲三年之后,他终于未能摆脱命运的安排,命运让他两次逃脱暗杀,并成为国家元首。五十一岁时,戴高乐推举他担任政府总理,此后他便介入政 治,但并不确信会以此为生涯。然而在巨人戴高乐的卵翼下度过数年之后,他对职责产生兴趣,甚至在穿越奇特的艰难险阻后,准备继承戴高乐的事业。

前言
第一部分 杰出的文学艺术爱好者
 卑微而低下的出身
 发现巴黎
 乌尔姆街
 一见钟情
 沐浴在普罗旺斯的阳光下
 战火的洗礼
 普通的法国人
 相遇戴高乐
 从桑戈尔到马尔罗
 巴黎名流界
 与将军在汽车上
 秘密使命
第二部分 巨变
 总理
 儒奥事件
 保安部队官兵的悲剧
 杀手追踪
 蓬皮杜,看清前面的路!
 未来不属于魔鬼,密特朗先生
 巨变
 棘手的难题
 面对骚乱
 格勒内勒谈判
 最漫长的一天
 穿越荒漠
 在莫里亚克家用晚餐
第三部分 对法兰西的雄心壮志
 难以大白于天下的真相
 好好睡吧,爸爸!
 共和国总统
 艾吕雅的超现实主义
 新社会
 月薪化
 蓬皮杜先生,我们为您感到耻辱!
 法兰西成为孤儿!
 非洲之行
 让英国人进来
 沙邦想标新立异
 伙伴和混蛋
 强大的工业和繁荣的法兰西
 空中客车
 我没有想到会遭受如此的磨难
尾声
资料来源和文献目录
注释
乔治·蓬皮杜经历与业绩年谱
感谢




第一部分 杰出的文学艺术爱好者
  卑微而低下的出身
“蓬皮杜,您的名字仿佛在嘲弄世界,似乎不够严肃,”戴高乐曾对他年轻的特派员说过,“如果您想有一天做成什么事情,您必须换个名字。”后来,见他居然取 得成功,戴高乐又补充说:“蓬皮杜,您这个总理居然起了个自行车运动员的名字。”实际上,这一姓氏的大概意为“小薄饼”或者“收费桥”,但这又有什么关系 呢?

曾祖父雅克·蓬皮杜既不识字,也不会写。他有两个儿子,长子皮埃尔继承他在沙泰涅雷高原上位于凯尔西与上奥弗涅交界处的诺卡兹庄园。这里出神甫、奶酪和火 山,养育出比马更强壮、更具阳刚气、灵巧略逊山羊、固执胜过骡子的男子汉。小儿子子让图,即乔治的祖父则不得不在哥哥家当雇工,以期积攒下两千法郎迎娶女 裁缝玛丽亚努。作为嫁妆,玛丽亚努给他带来一架缝纫机。

凭借这点可怜的资产,新婚夫妇得以在马蒂内的乌斯塔莱安家落户,孤零零的一座小屋淹没在栗树丛中的葡萄架下。他们生育了三个孩子。如果说两个大孩子后来成 为农夫的话,小学教师M·茹瓦——一位还俗的修道士——则“鼓励”三儿子莱昂学习,因为他在放猪的同时,学习要比两个哥哥好。

在那个时代里,每个村庄都为自己的小学和小学生团队感到自豪。每逢7月14日,孩子们便头戴轻便军帽或饰有红色绒球的贝雷帽,身着短工装和海蓝色裤子,跟 在红旗后面游行。他们在小学教师、一位或两位本土保卫军(1914年前由后备役军人组成——译注)军官的率领下,神气活现地肩背按照他们身材做成的、刺刀 磨成圆形的枪支,唱道:
*****

...1973年。他還記得,這年9月的一天,街上萬人空巷,市民和有單位的人組織上街,手持小紅旗,歡迎法國總統喬治‧龐畢度到訪。因為有周恩來陪同,規格很高,這也是《雲岡石窟》這本圖冊出得盡善盡美的遠因。龐畢度回國後不久去世,這在大同有兩個傳說,一謂其服不住社會主義的水土,一謂其未去上下華嚴寺拜佛,云云。

(前法國總統喬治‧龐畢度在周恩來總理陪同下遊覽大同/騰訊大家網)
另一則最近的政要新聞則是:10月4日,朝鮮高官一行突訪韓國,雖然次日對外號稱是參加仁川亞運會閉幕式,但當天消息是爆炸性的,關於朝鮮第二三號人物突然出訪而一號人物久未露面的種種猜測,直到10天後金正恩出現在公眾面前,都沒有平息。據朝鮮《勞動新聞》的報導,金正恩是在視察新建成的科學家住宅小區。只要上網的讀者都可以見到朝鮮最高領導人手持著枴杖,話題自然馬上轉到了「金正恩的身體出了什麼問題」上。
新舊對比,三十多年間最重要的變化,可能站在我那位朋友的角度看最為明顯:1973年的大同人民儘管站在街邊,與龐畢度總統近在咫尺,卻完全不知情,才會有後來的小道消息流傳;而今天借助網絡,不出門便知道另一個國家發生了什麼。
對一個國家而言,領袖的身體狀況便是國家機密的一種。新舊對比,我們更可以看出的,便是政治人物權杖與枴杖的相互關係,除開外部條件(獲得消息的渠道)的變化,這種關係至今甚少變化——朝鮮最高領導人為何手持枴杖,現在仍然是一個謎。不過,在龐畢度那時,封鎖消息更是常態——應該說,這種手段在政治生活中肯定開始得更早,而且是一種必不可少的手段。
龐畢度1973年9月10日——17日訪問中國,情形如下:
「他幾乎不需要走路。如果說他參觀了天壇、紫禁城和大同石窟,那時坐在供他使用的汽車上進行的參觀。」
提供這一科學真相的,是法國的皮埃爾‧阿考斯和瑞士的皮埃爾‧朗契尼克兩位醫學界人士。他們根據對世界政要的病理分析,寫了《病夫治國》這部(以及續集)探討大人物們在權杖與枴杖之間的「案情分析」。龐畢度是其一,收在《病夫治國》中,這部書出版於1976年,續集收錄的政要迄止80年代末(簡體中文譯本出版於1992年)。很顯然,續集人物是可以出到現在、甚至是未來的。
356144aa《病夫治國》的開篇就引用了法國作家亨利‧德‧蒙太朗的隨筆《燈火管制》:
「要寫一篇論文,談談疾病在人類歷史上,也就是說創造這個歷史的偉人身上所起的重要而不為人知的作用。有人談論克婁巴特拉(克麗奧佩脫拉,埃及艷后)的鼻子,卻不見有人談論黎希留(黎塞留,法國名相)的痔瘡。」......「記憶猶新。一九七四年四月二日,在倫敦交易所裡,黃金價格每盎司達到歷史最高水平。在北越,改組了政府。南斯拉夫正為意美兩國在亞得里亞海北部舉行的海上演習提心吊膽。那天晚上,巴黎下著雨。電視播送的是《基輔人》,作為關於蘇聯猶太人辯論的序幕。將近晚上十點的時候,警察悄悄地封鎖了通向聖路易島末端的貝頓碼頭的兩條道路。一小時以前,共和國的十九屆總統,六十歲的喬治‧龐畢度在那裡。在他俯視塞納河的私人住所裡逝世。他死於大出血。」
不得不提到譯者;現在我們知道,這兩部作品的譯者「何逸之」,正是法國文學翻譯家郭宏安先生的化名。...**


Claude Pompidou, Art Patron, Dies at 94


Published: July 4, 2007
PARIS, July 3 (AP) — Claude Pompidou, the publicity-shy widow of Georges Pompidou, the former French president, died Tuesday in Paris. She was 94.

Image may be NSFW.
Clik here to view.

Agence France-Presse — Getty Images
Georges and Claude Pompidou at the Élysée Palace in 1970.


The Claude Pompidou Foundation announced her death but gave no cause. Georges Pompidou died in office on April 2, 1974.
Passionate about modern art, particularly the work of the French artist Yves Klein, Claude Pompidou was instrumental in the creation of a modern art museum that bears her husband’s name. Opened in 1977, the audacious, tube-covered Pompidou Center is one of Paris’s most popular museums.
She was also committed to philanthropy. Her foundation, set up in 1970, helps disabled children, the elderly and hospital patients.
Timid and reserved, she had difficulty adjusting to life in the limelight, once calling the presidential Élysée Palace “a house of sadness.”
“I cannot say that the weight of political life was pleasurable for me,” she said in a 2004 interview with Le Figaro. “But it was destiny, absolute destiny.”
Claude Jacqueline Cahour, the child of a doctor, was born on Nov. 13, 1912, in Château-Gontier, a town in the west-central Mayenne region. She met her future husband in Paris, when she was a first-year law student. The couple married in her hometown in 1935.
Her survivors include a son, Alain, a professor.

****

The Gleam in Pompidou's Eye

THE MAKING OF BEAUBOURG A Building Biography of the Centre Pompidou, Paris. By Nathan Silver. Illustrated. 206 pp. Cambridge, Mass.: The MIT Press. $24.95.
THIS short, informative and entertaining book describes the gestation and birth of Paris's main modern cultural center from 1969, when it was a mere gleam in President Georges Pompidou's eye, to its official inauguration in 1977. The author, Nathan Silver, an architect and architecture critic in London, refers to "The Making of Beaubourg" as the "biography" of a building, and he mentions that the book was written more than 10 years ago and its publication "postponed" until now. No explanation for the delay is offered. Yet the story of the origins and realization of this acutely controversial monument actually proves more interesting with a decade's hindsight, since public outcry about it has largely died down and Beaubourg's eminence on the architectural and the cultural landscape of Paris is secure.
What proves most intriguing in Mr. Silver's swift-paced narrative is the number and variety of the people who were vitally involved in this vast, costly undertaking and the multitude of pressures, crises and unforeseen twists and turns that characterized the building of Beaubourg -- or the Pompidou Center, as it is officially but less commonly called -- from its conception to its opening and beyond. The cast of characters ranges from central protagonists like the two main architects, Renzo Piano and Richard Rogers, whose practice had been not in Paris but in London and Genoa, and their counterparts from the global engineering firm Ove Arup to an array of experts in fields as diverse as fire safety and the philosophy of color to an army of specialist contractors, Government officials and assorted cultural bigwigs.
The frequently nightmarish succession of hidden technical problems, severe budget cuts, political uncertainty (Valery Giscard d'Estaing was elected President after Pompidou's death in 1974), group infighting, lawsuits and unabating public criticism makes a surprisingly gripping tale. The facts are presented without too much specialist detail or jargon, and in the end -- whether one admires Beaubourg as a building with all its innards on the outside and as a cultural center or not -- one can only admire the conviction and fortitude of the people who brought it into being against odds that were clearly all but overwhelming.
Perhaps the most appealing part of this narrative is the point at which the then little-known firm Piano & Rogers learns that out of the 681 designs submitted, the international jury set up for Beaubourg has chosen its plan. The young architects and their partners from Ove Arup have barely assimilated the news before they are spirited away to meet Pompidou at the Elysee Palace. "They were shown into the reception room," Mr. Silver recounts. "There were five very low elegant chairs facing a huge desk, behind which was a large and quite high chair. . . . Pompidou came in briskly and sat down in his thronelike chair behind the desk. His audience agreed later that they all noticed the same thing: the soles of his shoes were polished." Pompidou appeared equally fascinated with what the young winners, unprepared for full French honors, were wearing: an array of denim, baggy tweed and flower-power shirts, as well as one unforgettable red Mickey Mouse sweatshirt.
After a round of elegant receptions and much flattering attention, the winning team began to encounter the kinds of unexpected difficulties that were to dog them all the way until completion date. Communication was an early problem, given the little French they had among them, although the language gap also proved a boon because it insulated them during a crucial initial period from demoralizing criticism. Quarrels over fees and schedules and misunderstandings of every kind, against a background of shifting political interests, meant that the project might have been taken bit by bit out of the winners' hands. With impressive resourcefulness and not a little help from their skillful French allies, the British-Italian-Danish team made it to the homestretch. And even then there were plenty of hair-raising episodes, such as the huge piazza in front of the center not being paved until 48 hours before the inauguration.
Today Beaubourg appears as inevitable a part of the Paris landscape as the Eiffel Tower, which created much the same brouhaha in its time. Now that this versatile cultural center ranks as one of the great tourist attractions of Europe and exudes the authority of a 20th-century Louvre, it is useful to remember how precarious and bitterly contested a project it was less than two decades ago.
Photo: An entrance to the Pompidou Center in Paris. (FROM "THE MAKING OF BEAUBOURG")
Michael Peppiatt, an art scholar and critic in Paris, is writing a book about the artist Francis Bacon.


斯坦因西域考古記(On Ancient Central Asian Tracks)

 

Archaeologist Sir Marc Aurel Stein died ‪#‎onthisday‬ in 1943. He explored sites on the Silk Road ow.ly/Df1hQ
During the thousand years of artistic activity at Mogao, the style of the wall paintings and sculptures changed, in part a reflection of the influences that reached it along the Silk Road. The early caves show greater Indian and Western influence, while during the Tang dynasty (AD 618-906) the influence of the latest Chinese painting styles of the imperial court is evident. During the tenth century, Dunhuang became more isolated and the organisation of a local painting academy led to mass production of paintings with a unique style.
The art also reflects the changes in religious belief and ritual at the pilgrim site. In the early caves,jataka stories were commonly depicted. During the Tang dynasty, Pure Land Buddhism became very popular. This promoted the Buddha Amitabha, who helped the believer achieve rebirth in his Western Paradise, where even sinners are permitted, sitting within closed lotus buds listening to the heavenly sounds and the sermon of the Buddha, thereby purifying themselves.
Various Paradise paintings decorate the walls of the cave temples of this period, each representing the realm of a different Buddha. Their Paradises were shown in sumptuous Chinese palace settings. Simplified versions of these buildings appear on banners depicting bodhisattvas showing donors on their way to Paradise.
Height: 80.500 cm
Width: 53.800 cm
Asia OA 1919,1-1,0.47
------
The first Western expedition to reach Dunhuang, led by a Hungarian count, arrived in 1879. More than twenty years later one of its members, Lajos Lóczy, drew the attention of the Hungarian-born Marc Aurel Stein (1862-1943), by then a well-known British archaeologist and explorer, to the importance of the caves. Stein reached Dunhuang and Mogao in 1907 during his second expedition to Central Asia. By this time, he had heard rumours of the walled-in cave and its contents.
After delicate negotiations with Wang Yuanlu, Stein negotiated access to the cave. 'Heaped up in layers,' Stein wrote, 'but without any order, there appeared in the dim light of the priest's little lamp a solid mass of manuscript bundles rising to a height of nearly ten feet.... Not in the driest soil could relics of a ruined site have so completely escaped injury as they had here in a carefully selected rock chamber, where, hidden behind a brick wall, .... these masses of manuscripts had lain undisturbed for centuries.'
(M. Aurel Stein, Ruins of Desert Cathay (1912; reprint, New York, Dover, 1987).
The abbot eventually sold Stein seven thousand complete manuscripts and six thousand fragments, as well as several cases loaded with paintings, embroideries and other artefacts; the money was used to fund restoration work at the caves.
The manuscripts are now in the British Library and the paintings have been divided between the National Museum in New Delhi and the British Museum, where over three hundred paintings on silk, hemp and paper are kept.
印刷惡劣 翻譯也有瑕疵 (譬如 "貧窮"翻譯成"可憐"......)

斯坦因西域考古記
北京:中華 1935/36/台北:中華 1988 台四版


Image may be NSFW.
Clik here to view.

  • 【作 者】:(英)奧里爾·斯坦因著,向達
  • 【叢編項】:西域探險考察大系
  • 【裝幀項】:平裝 大32開 / 326
  • 【出版項】:新疆人民出版社 / 2010-4-1




  • 英國探險家奧利爾·斯坦因和他在中國西部的考古探險活動,有較大的爭議。他是尼雅遺址的發現者,也是敦煌藏經洞劫經的始作俑者,這是無法回避的事實。但是,只要涉及新疆探險史,對斯坦因和他在中國西部的考古探險則不能避而不談。
  • Image may be NSFW.
    Clik here to view.
    【本書目錄】

    出版說明
    新疆考古發現與西域文明
    中國邊疆研究60年與西域探險考察
    斯坦因與新疆探險史(代序)
    著者序
    譯者贅言
    第一章 亞洲腹部的鳥瞰
    第二章 中國之經營中亞以及各種文明的接觸
    第三章 越興都庫什以至帕米爾同昆侖山
    第四章 在沙漠廢址中的第一次發掘
  • 第五章 尼雅廢址所發現的東西 (多談 佉(ㄑㄩ)盧文(Kharoti,),又名犍陀羅文



  • 第六章 尼雅廢址之再訪和安得悅的遺物
    第七章 磨朗的遺址
    第八章 古樓蘭的探險
    第九章 循古道橫渡干涸了的羅布泊
    第十章 古代邊境線的發現
    第十一章 沿著古代中國長城發現的東西
    第十二章 千佛洞石窟寺
    第十三章 密室中的發現
    第十四章 千佛洞所得之佛教畫
    第十五章 南山山脈中的探險
    第十六章 從額濟納河到天山
    第十七章 吐魯番遺跡的考察
    第十八章 從庫魯克塔格山到疏勒
    第十九章 從疏勒到阿爾楚爾帕米爾
    第二十章 沿媯水上游紀行
    第二十一章 從洛山到撒馬爾罕
    附錄
     一、斯坦因第三次中亞考古略記
     二、斯坦因黑水考古紀略
     三、俄國科茲洛夫探險隊外蒙古考古發現紀略
     四、19世紀后半期西域探險略表
    編譯說明


  • : On Ancient Central Asian Tracks by Aurel Stein

    Image may be NSFW.
    Clik here to view.
    On Ancient Central Asian Tracks

    See larger image






    On Ancient Central Asian Tracks [Paperback]

    Aurel Stein (Author)

    ‎Sylvia‬ Plath


    Sylvia Plath(The Bell Jar《瓶中美人》作者,英國桂冠詩人Ted Hughes之妻)

    Sanity may represent our nominal ideal, but Sylvia Plath and John Nash are the box-office draws.
    draw
    Attract (someone) to come to a place or anevent:you really drew the crowds with your playing

    台灣似乎出版過一本中英對照  ‎Sylvia‬ Plath 詩選
    美國新聞記者﹑作家珍妮特"馬爾科姆(Janet Malcolm,1934-)在寫關于美國著名女詩人希爾維亞 普拉斯(Sylvia Plath﹐1932-1963)時把傳記作者比作一個"職業竊賊﹐破門而入﹐在他們認為很可能有珠寶與金錢的地方翻箱倒櫃﹐並席卷贓物凱旋而去"。



    Sylvia Plath was born in Jamaica Plain, Massachusetts in 1932. Although best known as a poet, she also wrote a semi-autobiographical novel The Bell Jar, in which the main character, Esther Greenwood, a bright college student interning at a fashion magazine, suffers a mental breakdown and attempts suicide. Plath, like Esther, attended Smith College and was awarded an internship at a magazine in New York, however, it was just after this experience that Plath made her first suicide attempt and was committed to a mental institution.
    On leaving the institution Plath graduated from Smith and obtained a scholarship to Cambridge University in England where she met and later married poet Ted Hughes. In 1960 Plath published her first collection of poetry, the remaining volumes of her work being published posthumously following a successful suicide attempt in 1963.

    台灣將這Sylvia Plath名著The Bell Jar翻譯成「瓶中美人」(鄭至慧譯,先覺,1999 年)
    本書是50年代美國著名作家Slyvia Plath的最後一部作品在她的一生中充滿著不幸而這些
    不幸不但讓她在生命中最精華的一刻死去同時也讓她所有的作品沾染了她一部份的人生而這 本書The Bell
    Jar就是她以自身的大學經驗和幾樣她自身的設定而寫的自傳型小說 ...The Bell Jar


    Experiments using a bell jar

    It can be sealed, which allows it to be used in a classroom science
    experiment involving an alarm clock and a vacuum pump. The air is
    pumped out of the sealed bell jar, and the noise of the alarm clock
    fades, thus proving that sound travels through vibrations in matter,
    not as waves.

    Sylvia Plath read by Harriet Walter

    Mushrooms

    Overnight, very
    Whitely, discreetly,
    Very quietly

    Our toes, our noses
    Take hold on the loam,
    Acquire the air.

    Nobody sees us,
    Stops us, betrays us;
    The small grains make room.

    Soft fists insist on
    Heaving the needles,
    The leafy bedding,

    Even the paving.
    Our hammers, our rams,
    Earless and eyeless,

    Perfectly voiceless,
    Widen the crannies,
    Shoulder through holes. We

    Diet on water,
    On crumbs of shadow,
    Bland-mannered, asking

    Little or nothing.
    So many of us!
    So many of us!

    We are shelves, we are
    Tables, we are meek,
    We are edible,

    Nudgers and shovers
    In spite of ourselves.
    Our kind multiplies:

    We shall by morning
    Inherit the earth.
    Our foot's in the door.

    The American poet ‪#‎Sylvia‬ Plath was born ‪#‎onthisday‬ in 1932. Hear Harriet Walter reading her poetry. http://bit.ly/1yFaXHj

    Old Masters and Young Geniuses:The Two Life Cycles of Artistic Creativity

    Old Masters and Young Geniuses:The Two Life Cycles of Artistic Creativity
    David W. Galenson
    as・ymp・tote ━━ n. 【数】漸近線.


    When in their lives do great artists produce their greatest art? Do they strive for creative perfection throughout decades of painstaking and frustrating experimentation, or do they achieve it confidently and decisively, through meticulous planning that yields masterpieces early in their lives?

    By examining the careers not only of great painters but also of important sculptors, poets, novelists, and movie directors, Old Masters and Young Geniuses offers a profound new understanding of artistic creativity. Using a wide range of evidence, David Galenson demonstrates that there are two fundamentally different approaches to innovation, and that each is associated with a distinct pattern of discovery over a lifetime.

    Experimental innovators work by trial and error, and arrive at their major contributions gradually, late in life. In contrast, conceptual innovators make sudden breakthroughs by formulating new ideas, usually at an early age. Galenson shows why such artists as Michelangelo, Rembrandt, Cézanne, Jackson Pollock, Virginia Woolf, Robert Frost, and Alfred Hitchcock were experimental old masters, and why Vermeer, van Gogh, Picasso, Herman Melville, James Joyce, Sylvia Plath, and Orson Welles were conceptual young geniuses. He also explains how this changes our understanding of art and its past.

    Experimental innovators seek, and conceptual innovators find. By illuminating the differences between them, this pioneering book provides vivid new insights into the mysterious processes of human creativity.

    David W. Galenson is Professor of Economics at the University of Chicago and a Research Associate of the National Bureau of Economic Research. He is the author of several books, including Painting Outside the Lines: Patterns of Creativity in Modern Art.

    Review:

    "An intriguing book."--The Age (Sunday Edition)

    Endorsements:

    "Beautifully written, well argued, and an exciting read, Old Masters and Young Geniuses is a strikingly novel interpretation of the creative process by a leading scholar in the economics of the arts. It realizes the exceedingly rare accomplishment of providing a fresh way of looking at the careers of the greatest artists of Western civilization."--William N. Goetzmann, documentary filmmaker, coauthor of The West of the Imagination, Edwin J. Beinecke Professor of Finance, Yale School of Management

    "A very well written and intellectually stimulating piece of scholarship that deserves to be widely read and debated."--Dean Keith Simonton, author of Creativity in Science: Chance, Logic, Genius, and Zeitgeist, Distinguished Professor of Psychology, University of California, Davis

    "This extremely lucid, logical book is very much a voyage of discovery, exploring different ways of extending the author's theory of the two polar types of creative behavior to all forms of artistic and intellectual activity. As with all truly original work, it will be controversial."--Robert Jensen, author of Marketing Modernism in Fin-de-Siècle Europe, Associate Professor of Art History, University of Kentucky

     

    Book Description | Endorsements | Table of Contents

    TABLE OF CONTENTS:


    List of Illustrations and Tables ix
    Preface xi


    INTRODUCTION 1


    CHAPTER 1: Theory 4
    Experimental and Conceptual Innovators 4
    Archetypes 5
    Planning, Working, and Stopping 11
    Innovation and Age: Old Masters and Young Geniuses 14
    Artists, Scholars, and Art Scholars 15


    CHAPTER 2: Measurement 21
    Quantifying Artistic Success 21
    Prices 21
    Textbook Illustrations 25
    Examples: Ten Important Modern Painters 27
    Retrospective Exhibitions 33
    Examples: Ten Important American Painters 35
    Museum Collections 40
    Museum Exhibition 42
    Measuring Careers 44


    CHAPTER 3: Extensions 47
    The Spectrum of Approaches 47
    Can Artists Change? 56
    Anomalies 61


    CHAPTER 4: Implications 67
    Masters and Masterpieces 67
    The Impressionists'Challenge to the Salon 71
    Masterpieces without Masters 73
    Contrasting Careers 80
    Conflicts 82
    The Globalization of Modern Art 86


    CHAPTER 5: Before Modern Art 94


    CHAPTER 6: Beyond Painting 111
    Sculptors 111
    Poets 122
    Novelists 134
    Movie Directors 149


    CHAPTER 7: Perspectives 162
    Portraits of the Artist as an Experimental or Conceptual Innovator 162
    Portraits of the Artist as a Young or Old Innovator 166
    Psychologists on the Life Cycles of Creativity 171
    Understanding and Increasing Creativity 177
    Seekers and Finders 185


    Notes 187
    Bibliography 207
    Index 223
    2006.11.20  中國時報 
    非凡藝術家 不是老努力,就是小天才
    郭崇倫


        上周紐約佳士得拍賣現代美國藝術家作品,結果普普大師安迪沃荷的《毛澤東》肖像十連作中的一幅,竟以超出原估價五百萬美金的一千七百四十萬元的天價賣出,打破沃荷過去所有作品拍賣價。 

        佳士得在巡迴展覽時,就曾經預期過買主會來自中國的新富豪,但是同時擔心「點朱唇、上眼影」的毛主席,難以被凡事政治化的中共接受,還特別解釋這是沃荷的表現方法,沒有扭曲變造他老人家的尊容。 

     
        果不其然,買主是香港的地產大亨劉鑾雄,但是北京反應,佳士得卻過慮了,現在的中國已經不是過去文革時代,護衛毛主席形象可以處死刑,反而賣價高是中國人之光,媒體甚至從在番邦的海外遺珍來下筆,問劉是否有意捐給國家? 

        但是究竟藝術品應該如何定價?是喜歡就好,藝術無價?還是由需求決定,只要容易保值,或是財大氣粗的中國、俄羅斯、印度的富豪多了,上億元的藝術品就多起來。 

        芝加哥大學經濟系教授大衛.葛蘭森﹝David Galenson﹞就不以這兩種解釋為然,他認為應該裡面是有個道理的,專精勞工經濟學的他花了三年的時間,挑選十九世紀到廿世紀中的一百廿五個藝術家,然後收集兩萬六千個他們藝術品的拍賣價,作回歸分析,得到的結論是:絕大部分高價藝術品,不是開創型的藝術家在他們早年創作的,就是勤勉型藝術家在他們晚年創作的。 

        在「年邁大師與少年天才」﹝Old Mastersand Young Geniuses﹞專書中,葛蘭森指出,像高更、畢卡索、梵谷,都是概念的開拓者,英雄出少年,藝術是為了實現意念,完成一幅作品的時間很短。 

        但是像塞尚,往往同一題材,畫了又畫,實驗不同的光影,賣得最好的作品,常常是六十幾歲才完成的。 

        葛蘭森把他的理論推而廣之,研究小說家、詩人、甚至諾貝爾經濟學獎得主,抽象來說就是,任何傑出的藝術性創作都落在這光譜的兩端,不是老努力,就是小天才。 

        他的說法在藝術界被認為是異端邪說,統計方法論完全抽離個別藝術品的表現,許多人甚至指出反例,像畢卡索的傑作《格羅尼卡》就是壯年五十五歲時才完成的。 

        然而經濟學的研究,往往乍看起來不合理,卻難以否定其中的關聯性,從薛林到傅利曼,個個如此,佳士得兩周前的印象派作品拍賣,似乎也證實了這點,同樣是塞尚的靜物,卅四歲畫的只有一百一十萬美金,而五十六歲畫的,竟賣到三千七百萬。 

        不過如果以沃荷的作品論,葛蘭森的理論恐怕要失準了,他六二年畫的《橘色瑪麗蓮夢露》還比七二年創作的《毛澤東》少賣了一百二十萬,或許是毛主席神威顯靈吧。 


    Interview: David Galenson
    Pondering the nature of artistic genius, a social scientist finds that creativity has a bottom line
     
    By Helen Starkweather

    Related links 
    WEB EXCLUSIVE - Extended Interview

    University of Chicago economist David Galenson recently conducted a quantitative study of artistic greatness. His findings appear in his Old Masters and Young Geniuses: The Two Life Cycles of Artistic Creativity.

     What are the two life cycles?

    There are two very different types of artists, which I call Old Masters, who work by trial and error and tend to improve with age, and conceptual people, or Young Geniuses, who generally do their best work early in their careers.

    How did you measure creativity?

    For painters, I looked at auction prices for their works and at art history textbooks and museum retrospectives. In almost all cases, the largest number of an artist's paintings included in textbooks and retrospectives were painted at the same age that his or her works brought the highest prices at auction. For Cezanne, auction prices are highest for works made in the last year of his life, when he was 67. For Picasso, the highest prices were for works he did at age 26. The age at which Cezanne paintings were most likely to appear in textbooks was when he was 67. For Picasso, it was age 26. In the two artists' most recent retrospectives, Cezanne's best year was age 67. Picasso's was 26. I've done this analysis for several hundred artists.

    Who fits the Old Masters profile?

    Cezanne, of course, but also Rembrandt, whose work got greater and greater to the very end of his life. Louise Bourgeois is an Old Master. 

    And the Young Geniuses?

    In addition to Picasso, Raphael and Vermeer were Young Geniuses. Most important artists working today--Cindy Sherman and Damien Hirst--are also Young Geniuses. 

    How come?

    In modern art, both critics and collectors have recognized that innovation is the key to value in art. Still, there will always be the Cezannes of the world, though we may not know who they are until they are in their 60s or 70s or 80s. 

    How will we recognize them?

    Other artists will tell us. Cezanne became important after he died because Matisse and Picasso had begun to use his work. It's not curators, it's not critics, it's not the public, it's not collectors who find great artists—it's other artists.

    What's the difference in how Young Geniuses and Old Masters think?

    Conceptual people—the Young Geniuses—emphasize the new idea, and plan their work very carefully. They often say that the execution is perfunctory. Indeed, in today's world, some of the greatest conceptual artists don't even execute their own work—they have it made by other people. But the Old Masters are never entirely sure what it is they want done, so they couldn't possibly have anybody else do it. Cezanne couldn't have said to somebody, "Go and make a painting for me."

    Are you an Old Master or a Young Genius?

    I'm certainly not a Young Genius; whether I become an Old Master is yet to be seen. 

    So there's hope for late bloomers?

    Yes, but you don't want to compete with conceptual people. They leap from topic to topic. Many Old Masters feel pressure to compete with them by changing subjects, which is a tremendous mistake. 


    AdvertisementAs a potential Old Master, do you expect that the next thing you do will be even better?

    I don't know. The people who do better and better work are people who are never satisfied. Cezanne would say, "I think I've accomplished something," but then he would immediately add: "But it's not enough."


    --------------------------------------------------------------------------------

    COPYRIGHT NOTICE: Published by Princeton University Press and copyrighted, (c) 2006, by Princeton University Press. All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher, except for reading and browsing via the World Wide Web. Users are not permitted to mount this file on any network servers. Follow links for Class Use and other Permissions. For more information, send e-mail to permissions@pupress.princeton.edu

    This file is also available in Adobe Acrobat PDF format


    Chapter 1 

    THEORY 

    EXPERIMENTAL AND CONCEPTUAL INNOVATORS 

    Does creation reside in the idea or in the action?
       Alan Bowness, 19721 
    There have been two very different types of artist in the modern era. These two types are distinguished not by their importance, for both are prominently represented among the greatest artists of the era. They are distinguished instead by the methods by which they arrive at their major contributions. In each case their method results from a specific conception of artistic goals, and each method is associated with specific practices in creating art. I call one of these methods aesthetically motivated experimentation, and the other conceptual execution. 

    Artists who have produced experimental innovations have been motivated by aesthetic criteria: they have aimed at presenting visual perceptions. Their goals are imprecise, so their procedure is tentative and incremental. The imprecision of their goals means that these artists rarely feel they have succeeded, and their careers are consequently often dominated by the pursuit of a single objective. These artists repeat themselves, painting the same subject many times, and gradually changing its treatment in an experimental process of trial and error. Each work leads to the next, and none is generally privileged over others, so experimental painters rarely make specific preparatory sketches or plans for a painting. They consider the production of a painting as a process of searching, in which they aim to discover the image in the course of making it; they typically believe that learning is a more important goal than making finished paintings. Experimental artists build their skills gradually over the course of their careers, improving their work slowly over long periods. These artists are perfectionists and are typically plagued by frustration at their inability to achieve their goals. 

    In contrast, artists who have made conceptual innovations have been motivated by the desire to communicate specific ideas or emotions. Their goals for a particular work can usually be stated precisely, before its production, either as a desired image or as a desired process for the work's execution. Conceptual artists consequently often make detailed preparatory sketches or plans for their paintings. Their execution of their paintings is often systematic, since they may think of it as primarily making a preconceived image, and often simply a process of transferring an image they have already created from one surface to another. Conceptual innovations appear suddenly, as a new idea immediately produces a result quite different not only from other artists' work, but also from the artist's own previous work. Because it is the idea that is the contribution, conceptual innovations can usually be implemented immediately and completely, and therefore are often embodied in individual breakthrough works that become recognized as the first statement of the innovation. 

    The precision of their goals allows conceptual artists to be satisfied that they have produced one or more works that achieve a particular purpose. Unlike experimental artists, whose inability to achieve their vague goals can tie them to a single problem for a whole career, the conceptual artist's ability to consider a problem solved can free him to pursue new goals. The careers of some important conceptual artists have consequently been marked by a series of innovations, each very different from the others. Thus whereas over time an experimental artist typically produces many paintings that are closely related to each other, the career of the conceptual innovator is often distinguished by discontinuity. 

    ARCHETYPES 

    I seek in painting.
       Paul Cézanne2
     
    I don't seek; I find.
       Pablo Picasso3 
    Two of the greatest modern artists epitomize the two types of innovator. 

    In September 1906, just a month before his death, sixty-seven-year-old Paul Cézanne wrote to a younger friend, the painter Émile Bernard: 

    Now it seems to me that I see better and that I think more correctly about the direction of my studies. Will I ever attain the end for which I have striven so much and so long? I hope so, but as long as it is not attained a vague state of uneasiness persists which will not disappear until I have reached port, that is until I have realized something which develops better than in the past, and can thereby prove the theories--which in themselves are always easy; it is giving proof of what one thinks that raises serious obstacles. So I continue to study.
         But I have just re-read your letter and I see that I always answer off the mark. Be good enough to forgive me; it is, as I told you, this constant preoccupation with the aim I want to reach, which is the cause of it.
         I am always studying after nature, and it seems to me that I make slow progress. I should have liked you near me, for solitude always weighs me down a bit. But I am old, ill, and I have sworn to myself to die painting. . . .
         If I have the pleasure of being with you one day, we shall be better able to discuss all this in person. You must forgive me for continually coming back to the same thing; but I believe in the logical development of everything we see and feel through the study of nature and turn my attention to technical questions later; for technical questions are for us only the simple means of making the public feel what we feel ourselves and of making ourselves understood. The great masters whom we admire must have done just that.4 
    This passage expresses nearly all the characteristics of the experimental innovator: the visual objectives, the view of his enterprise as research, the need for accumulation of knowledge, with the requirement that technique must emerge only from careful study, the distrust of theoretical propositions as facile and unsubstantiated, the incremental nature and slow pace of his progress, the total absorption in the pursuit of an ambitious, vague, and elusive goal, the frustration with his perceived lack of success in achieving that goal of "realization," and the fear that he would not live long enough to attain it. The irony of Cézanne's frustrations and fears at the end of his life stems from the fact that it was his most recent work, the paintings of his last few years, that would come to be considered his greatest contribution and would directly influence every important artistic development of the next generation. 

    The critic Roger Fry recognized the incremental and persistent nature of Cézanne's approach: "For him as I understand his work, the ultimate synthesis of a design was never revealed in a flash; rather he approached it with infinite precautions, stalking it, as it were, now from one point of view, now from another . . . For him the synthesis was an asymptote toward which he was for ever approaching without ever quite reaching it; it was a reality, incapable of complete realization."5 The historian Alan Bowness stressed Cézanne's inductive visual approach and avoidance of preconception: "His procedure is always empirical, not dogmatic--Cé-zanne is not following a set of rules, but trying, with every new picture, to record his sensations before nature."6 Émile Bernard spent a month in Aix in 1904 and recalled that Cézanne spent the whole month working on a single still life: "The colors and shapes in this painting changed almost every day, and each day when I arrived at his studio, it could have been taken from the easel and considered a finished work of art." Bernard reported that Cézanne "never placed one stroke of paint without thinking about it carefully," and concluded that his method of working was "a meditation with a brush in his hand."7 Art scholars have often been puzzled by Cézanne's casual disregard for his own paintings, but his lack of concern appears understandable as a consequence of his experimental method. Thus the critic Clive Bell explained that Cézanne's real goal was not making paintings, but making progress toward his goal: "The whole of his later life was a climbing towards an ideal. For him every picture was a means, a step, a stick, a hold, a stepping-stone--something he was ready to discard as soon as it had served his purpose. He had no use for his own pictures. To him they were experiments. He tossed them into bushes, or left them in the open fields."8 

    As Cézanne grew older, his paintings could increasingly be understood as visual representations of the uncertainty of perception, for the more he worked, the more acutely he became aware of the difficulty and complexity of his chosen task. Thus in 1904 he wrote to Bernard: "I progress very slowly, for nature reveals herself to me in very complex ways; and the progress needed is endless. One must look at the model and feel very exactly; and also express oneself distinctly and with force . . . The real and immense study to be undertaken is the manifold picture of nature."9 Cézanne's comments suggest that his uncertainty had a number of sources. He told his friend Joachim Gasquet: "Everything we look at disperses and vanishes, doesn't it? Nature is always the same, and yet its appearance is always changing. It is our business as artists to convey the thrill of nature's permanence along with the elements and the appearance of all its changes."10 The critic David Sylvester explained that because they alternate between looking at the model and at the canvas, painters do not actually copy what they see: "In fact, one never copies anything but the vision that remains of it at each moment . . . Working from life is working from memory: the artist can only put down what remains in his head after looking." For a painter as committed as Cézanne to visual accuracy, this gap between perception and execution becomes a source of anxiety and despair: "The model can go on standing still for ever, but the work will nonetheless be the product of an accumulation of memories none of which is quite the same as any other."11 Cézanne worked to develop techniques that would represent this process of sequential representation. Thus Meyer Schapiro noted that in his later work "we see the object in the painting as formed by strokes, each of which corresponds to a distinct perception and operation . . . The form is in constant making."12 

    Another major source of uncertainty involved contours. A celebrated statement of Cézanne's is that "There is no line; . . . there are only contrasts."13 As he explained in a letter of 1905 to Bernard, 

    the sensations of color, which give the light, are for me the reason for the abstractions which do not allow me to cover my canvas entirely nor to pursue the delimitation of the objects where their points of contact are fine and delicate; from which it results that my image or picture is incomplete. On the other hand the planes fall one on top of the other, from whence neo-impressionism emerged, which circumscribes the contours with a black line, a fault which must be fought at all costs.14 
    Cézanne struggled with the fact that the contour of an object is not a line, but rather the edge of a surface that is foreshortened because it is seen by the viewer at a sharp angle: "The contour [of an apple] is the ideal limit toward which the sides of the apple recede in depth."15 To represent this edge by a single outline not only sacrifices an illusion of depth, but violates the artist's knowledge of the existence of the foreshortened surface. Roger Fry observed that "the contours of objects became almost an obsession to Cézanne." Cézanne's treatment of objects reflected his anxiety over the problem: "He almost always repeats the contour with several parallel strokes as though to avoid any one too definite and arresting statement, to suggest that at this point there is a sequence of more and more foreshortened planes . . . The contour is continually being lost and then recovered again."16 Examined close up, the many small hatched strokes that serve to define objects in Cézanne's late paintings create a sense of change: "It is as if there is no independent, closed, pre-existing object, given once and for all to the painter's eye for representation, but only a multiplicity of successively probed sensations."17 The painting becomes a representation not of something seen, but rather of the process of seeing, and of Cézanne's recognition of the inevitable incompleteness of that representation. Thus Meyer Schapiro declared that Cézanne was "able to make his sensing, probing, doubting, finding activity a visible part of the painting."18 

    In 1923 Pablo Picasso gave a rare interview to a friend, the artist and critic Marius de Zayas, in which he emphasized that art should communicate discoveries rather than serving as a record of the artist's development: 

    I can hardly understand the importance given to the word research in connection with modern painting. In my opinion to search means nothing in painting. To find, is the thing. . .
         When I paint my object is to show what I have found, not what I am looking for. . . .
         The several manners I have used in my art must not be considered as an evolution or as steps toward an unknown ideal of painting. . . .
         I have never made trials or experiments. Whenever I had something to say, I have said it in the manner in which I have felt it ought to be said. Different motives inevitably require different methods of expression.19 
    Picasso's rejection of the description of his art as an evolution has been confirmed by generations of critics and scholars. As early as 1920, with Picasso not yet forty years old, Clive Bell described his career as "a series of discoveries, each of which he has rapidly developed," and commented on the abruptness and frequency of his stylistic changes, a theme that would later be echoed by dozens of biographers.20 Thus decades later the critic John Berger wrote of Picasso's "sudden inexplicable transformations" and observed that "in the life work of no other artist is each group of works so independent of those which have just gone before, or so irrelevant to those which are to follow."21 Historian Pierre Cabanne made this point by comparing Picasso with Cézanne: "There was not one Picasso, but ten, twenty, always different, unpredictably changing, and in this he was the opposite of a Cézanne, whose work . . . followed that logical, reasonable course to fruition."22 

    Picasso often planned his paintings carefully in advance. During the winter of 1906-7, he filled a series of sketchbooks with preparatory studies for Les Demoiselles d'Avignon, the large painting that would become his most famous single work.23 Historian William Rubin estimated that Picasso made more than four hundred studies for the Demoiselles, "a quantity of preparatory work . . . without parallel, for a single picture, in the entire history of art."24 The painting was a brutal departure from the lyrical works of the rose period that immediately preceded it, and its arrival jolted Paris's advanced art world. Henri Matisse angrily denounced the painting as an attempt to ridicule the modern movement, and even Georges Braque, who would later realize that he and Picasso "were both headed in the same general direction," initially reacted to the painting by comparing Picasso to a fairground fire-eater who drank kerosene to spit flames.25 The importance of the Demoiselles stems from its announcement of the beginning of the Cubist revolution, which Picasso and Braque would develop in the next few years. As historian John Golding has observed, Cubism was a radical conceptual innovation, based not on vision but on thought: "Even in the initial stages of the movement, when the painters still relied to a large extent on visual models, their paintings are not so much records of the sensory appearance of their subjects, as expressions in pictorial terms of their idea or knowledge of them. 'I paint objects as I think them, not as I see them,' Picasso said."26 

    Picasso's certainty about his art contrasted sharply with Cézanne's doubt. Thus in 1946, when he was sixty-five, Picasso told his companion Françoise Gilot that his work was so often interrupted by visitors that he frequently did not push his works "to their ultimate end," but he knew that he could do this when he wished: "In some of my paintings I can say with certainty that the effort has been brought to its full weight and conclusion."27 He explained to a biographer that his certainty came from the clarity of his conception: "'The key to everything that happens is here,' he said one day, pointing to his forehead. 'Before it comes out of the pen or brush, the key is to have it at one's fingertips, entirely, without losing any of it.'"28 

    In an essay written in 1985, Meyer Schapiro puzzled over the fact that in the early 1920s Picasso had been able to work simultaneously in two very different styles: "In the morning he made Cubist paintings; in the afternoon he made Neoclassical paintings." For Schapiro, Picasso's lack of commitment to one style at a time did no less than call into question the integrity of his enterprise: "There exists in his practice a radical change with respect to the very concept of working, of production. Working involves, at least within our tradition, the commitment to a necessary way of working. If you can work in any other way you please, then no one way has a necessity; there is an element of caprice or arbitrariness of choice."29 The German artist Oskar Schlemmer had also commented in 1921 on both Picasso's extraordinary ability to change styles and his lack of commitment, as he wrote to a friend that after reading a new book that surveyed Picasso's career, "I was amazed at the versatility of the man. An actor, the comic genius among artists? For everything is there: he could easily assume the role of any artist of the past or of any modern painter."30 Interestingly, however, also in 1921 the artist and critic Amedée Ozenfant had explained Picasso's unusual practice: "Can . . . people not understand that Cubism and figurative painting are two different languages, and that a painter is free to choose either of them as he may judge it better suited to what he has to say?" Ozenfant recognized that Picasso's alternation of styles was simply a consequence of the conceptual nature of his art: "When he paints a picture, he knows what he wants to say and what kind of picture will in fact say it; his forms and colors are judiciously chosen to achieve the desired end, and he uses them like the words of a vocabulary."31 Picasso's ability to choose styles to fit his ideas could not have differed more from Cézanne's lifelong quest to create a style that would allow him to achieve a single goal. Picasso's alternation of styles, like his many rapid changes of style over the course of his career, reflected the origin of his art in ideas that could be formulated and expressed quickly, whereas Cézanne's steadfast commitment to a single style, that could only evolve gradually over time, was a product of the visual nature of his art, and the impossibility of fully achieving his elusive goal. 

    PLANNING, WORKING, AND STOPPING 

    For any given artist, what does his work signify? A passion? A pleasure? A means, or an end? For some, it dominates life; for others, it is a part of it. According to their natures, some will pass easily from one work to another, tear up or sell, and go on to something quite different; others, on the contrary, become obsessed, involved in endless revision, cannot give up the game, turn their backs on their gains and losses: like gamblers, they keep doubling the stakes of patience and determination.
       Paul Valéry, 193632

    The distinction between experimental and conceptual artists can be sharpened by considering their procedures in making paintings. For this purpose, we can divide the process into three stages: planning--all the artist does before beginning a particular painting; working--all the artist does while in the process of putting paint on the canvas; and stopping--the decision to cease working.33 

    For experimental artists, planning a painting is unimportant. The subject selected might be simply a convenient object of study, and frequently the artist returns to work on a motif he has used in the past. Some experimental painters begin without a specific subject in mind, preferring instead to let the subject emerge as they work. Experimental painters rarely make elaborate preparatory sketches. Their most important decisions are made during the working stage. The artist typically alternates between applying paint and examining the emerging image; at each point, how he develops the image depends on his reaction to what he sees. Lacking a clear goal for the work, the artist is looking for things he finds interesting or attractive. If he finds them, he may continue working; if he does not, he may scrape off the image or paint over it. The decision to stop is also based on inspection and judgment of the work: the painter stops when he cannot see how to continue the work. Sometimes this is because he likes the painting and considers it finished, but often he remains dissatisfied, yet can not see how to improve the work. In either case, experimental painters are inclined to consider the decision to stop as provisional, and often return to work on paintings they earlier abandoned or considered finished, even after long intervals. 

    For the conceptual artist, planning is the most important stage. Before he begins working, the conceptual artist wants to have a clear vision either of the completed work or of the process that will produce it. Conceptual artists consequently often make detailed preparatory sketches or other plans for a painting. With the difficult decisions already made in the planning stage, working and stopping are straightforward. The artist executes the plan and stops when he has completed it. 

    The history of modern art contains a series of important artists who considered the essence of art to be in the planning stage, rendering the execution of the work perfunctory. Prominent examples come readily to mind. When visitors to his studio praised his great painting of the island of the Grande Jatte, Georges Seurat remarked to a friend, "They see poetry in what I have done. No, I apply my method and that is all there is to it."34 In 1885 Paul Gauguin advised his friend Émile Schuffenecker, "Above all, don't sweat over a painting; a great sentiment can be rendered immediately."35 In 1888 Vincent van Gogh wrote to his brother, "I am in the midst of a complicated calculation which results in a quick succession of canvases quickly executed but calculated long beforehand."36 Marcel Duchamp explained that his artistic goal was "to get away from the physical aspect of painting."37 Charles Sheeler recalled that in 1929 he began "a period that followed for a good many years of planning a picture very completely before starting to work on the final canvas, having a blueprint of it and knowing just exactly what it was going to be."38 Ad Reinhardt wrote in 1953 that a technical rule for painting should be that "everything, where to begin and where to end, should be worked out in the mind beforehand."39 Andy Warhol declared in 1963 that "the reason I'm painting this way is that I want to be a machine."40 A few years later Sol LeWitt stated that in his art "all of the planning and decisions are made beforehand and the execution is a perfunctory affair."41 Chuck Close explained that creating his images of faces from photographs is done methodically: "I have a system for how the head is going to fit into the rectangle. The head is going to be so big, it is going to come so close to the top edge, and it is going to be centered left to right."42 Robert Smithson told an interviewer in 1969, "An object to me is the product of a thought."43 Robert Mangold wrote in 1988, "I want to approach the final painting with a clear idea of what must happen."44 Gerhard Richter wrote that when he painted, he "simply copied the photographs in paint and aimed for the greatest possible likeness to photography"; a consequence of this procedure was that "conscious thinking is eliminated."45 Audrey Flack recalled the moment when she arrived at her practice of painting over projections of color slides: "It was late at night and I suddenly had the idea of projecting an image onto the canvas . . . I owned no projector but was so excited by the idea that I called a friend who immediately responded to the urgency of my request . . . This was the beginning. It opened up a new way of seeing and working."46 Ed Ruscha was equally pleased to find his method: "It was an enormous freedom to be premeditated about my art . . . I was more interested in the end result than I was in the means to an end."47 Bridget Riley recently explained, "My goal was to make the image perfect, not mechanical . . . but perfect in the sense of being exactly as I intended it."48 

    Just as readily, we can find important modern artists who believed that the principal source of their achievement lay in events that occurred during the process of painting. Frustrated by the changing weather that slowed his progress on his paintings of Rouen Cathedral in 1893, Claude Monet wrote to his wife that "the essential thing is to avoid the urge to do it all too quickly, try, try again, and get it right."49 Auguste Renoir explained that his paintings took time to develop: "At the start I see my subject in a sort of haze. I know perfectly well that what I shall see in it later is there all the time, but it only becomes apparent after a while."50 Wassily Kandinsky wrote, "Every form I ever used constituted itself 'of its own accord,'" with a form frequently "constituting itself actually in the course of work, often to my own surprise."51 In 1909 Paul Klee wrote in his diary that "in order to be successful, it is necessary never to work toward a conception of the picture completely thought out in advance. Instead, one must give oneself completely to the developing portion of the area to be painted."52 When a young artist visited the New York studio of the aging Piet Mondrian and asked him whether he was not losing good pictures by continually revising the samecanvases, Mondrian replied, "I don't want pictures, I just want to find things out."53 Joan Miró told an interviewer in 1948, "Forms take reality for me as I work. In other words, rather than setting out to paint something, I begin painting and as I paint the picture begins to assert itself, or suggest itself under my brush."54 Alberto Giacometti told a critic, "I don't know if I work in order to do something or in order to know why I can't do what I want to do."55 Mark Rothko declared, "I think of my paintings as dramas . . . Neither the action nor the actors can be anticipated."56 Jackson Pollock explained in 1947, "I have no fears about making changes, destroying the image, etc., because the painting has a life of its own. I try to let it come through."57 Hans Hofmann told an interviewer, "At the time of making a picture, I want not to know what I'm doing; a picture should be made with feelings, not with knowing."58 William Baziotes wrote, "What happens on the canvas is unpredictable and surprising to me."59 Robert Motherwell recorded his realization "that each brush stroke is a decision."60 Howard Hodgkin told a critic, "My pictures really finish themselves."61 Balthus wrote that "a painting's different stages betray the painter's endless trial and error as he tries to arrive at what he feels is the definitive, final, completed state."62 Pierre Alechinsky explained, "I apply myself to seeking out images that I do not know . . . Indeed, it would be sad to know in advance that which is to come, for the simple reason that it deprives one of the sense of discovery."63 Francis Bacon told an interviewer that "in my own work the best things just happen--images that I hadn't anticipated."64 Pierre Soulages described the process of making a painting as "a kind of dialogue between what I think is being born on the canvas, and what I feel, and step by step, I advance and it transforms itself and develops."65 Richard Diebenkorn confessed, "I find that I can never conceive a painting idea, put it on canvas, and accept it, not that I haven't often tried."66 Helen Frankenthaler recalled how she learned to compose her paintings: "When one made a move toward the canvas surface, there was a dialectic and the surface gave an answer back, and you gave it an answer back."67 Joan Mitchell facetiously placed her style within the context of 1960s art: "Pop art, op art, flop art, and slop art. I fall into the last two categories."68 Susan Rothenberg said of her paintings that "the results are a way of discovering what I know and what I don't."69 

    The contrast between the two types of artist is as great if we consider differences in practice in the final stage of making a painting. Considering the two archetypal cases discussed here, Cézanne rarely considered his paintings finished. His friend and dealer Ambroise Vollard observed that "when Cézanne laid a canvas aside, it was almost always with the intention of taking it up again, in the hope of bringing it to perfection."70 One consequence of this was that Cézanne rarely signed his works: fewer than 10 percent of the paintings in John Rewald's recent catalogue raisonné are signed.71 In contrast, Picasso always signed his works and often dated them not only with the customary year but also the month and day--and occasionally even the time of day--of their execution.72 He told Françoise Gilot, "I paint the way some people write their autobiography. The paintings, finished or not, are the pages of my journal, and as such they are valid. The future will choose the pages it prefers. It's not up to me to make the choice."73 

    INNOVATION AND AGE: OLD MASTERS AND YOUNG GENIUSES 

    When a situation requires a new way of looking at things, the acquisition of new techniques, or even new vocabularies, the old seem stereotyped and rigid But when a situation requires a store of past knowledge then the old find their advantage over the young.
       Harvey Lehman, 195374
     
    Picasso was a rare prodigy. Cézanne was not a prodigy, his art was a hard-earned skill that took a lot of time.
       David Hockney, 199775


    Recognizing the differences between the experimental and conceptual approaches provides the basis for systematic predictions concerning the relationship between age and artistic innovation. The long periods of trial and error often required for important experimental innovations means that they will tend to occur late in an artist's career. Because conceptual innovations are made more quickly, it might be thought that they should be equally likely to occur at any age. Yet the achievement of radical conceptual innovations depends on the ability to perceive and appreciate the value of extreme deviations from existing conventions and traditional methods, and this ability will tend to decline with experience, as habits of thought become more firmly established. The most important conceptual innovations should therefore tend to occur early in an artist's career. As noted earlier, some conceptual artists will make a series of unrelated contributions over the course of their careers, but this analysis predicts that the most important of these will generally be the earliest. 

    Cézanne did not even formulate the central problem of his career, of making Impressionism a more timeless and solid art, until he was in his midthirties. He then worked steadily at developing his solution to that problem--"searching for a technique"--for more than three decades and arrived at his most important contribution at the end of his life.76 In contrast, Picasso conceived his most important idea while in his midtwenties, when he painted the Demoiselles, and he and Braque developed that idea into the several forms of Cubism, his most important contribution, within less than a decade. By 1914 Picasso had thus concluded "the most complete and radical artistic revolution since the Renaissance."77 He was then just thirty-three, the same age at which Cézanne had traveled to Pontoise to learn from Pissarro the techniques of Impressionism, which became the starting point for the quest that would culminate in his greatest achievement more than thirty years later. Cézanne's slow production and elaboration of his creative ideas led to a very late peak in the quality of his work, whereas Picasso's rapid production and development of his new ideas led to a very early peak. 

    ARTISTS, SCHOLARS, AND ART SCHOLARS 

    I think an artist is seldom jealous of another man's income. We are jealous of the quality of his work.
       Walter Sickert, 191078
     
    Invention in the arts and in thought is part of the invention of life, and . . . this invention is essentially a single process.
       Brewster Ghiselin, 195279
     
    Today it is again apparent that the artist is an artisan, that he belongs to a distinct human grouping as homo faber, whose calling is to evoke a perpetual renewal of form in matter, and that scientists and artists are more like one another as artisans than they are like anyone else.
       George Kubler, 196280
     
    Why do people think artists are special?
    It's just another job.
       Andy Warhol, 197581
     
    Few people depend as much as artists and intellectuals do for their self-image upon the image others, and particularly other writers and artists, have of them. "There are," writes Jean-Paul Sartre, "qualities that we acquire only through the judgments of others." This is especially so for the quality of a writer, artist, or scientist, which is so difficult to define because it exists only in, and through, co-optation, understood as the circular relations of reciprocal recognition among peers.
       Pierre Bourdieu, 199382
     
    The more I've read of mathematicians and physicists, the more engrossed I've become. They really seem like artists to me.
       David Hockney, 198883

    The next important step in this presentation is to consider how the theoretical predictions made here can be tested empirically. Before doing this, however, it is useful briefly to indicate how this analysis relates to some earlier treatments in art history. 

    Perhaps the most generally acclaimed recent examination of the context within which artists make paintings is Michael Baxandall's Patterns of Intention. To understand how objects come to be made, Baxandall begins the book with a description of the construction of a bridge in Scotland in the nineteenth century. A company formed by four railroads decided where they wished to have a bridge, then hired an engineer to design and build it. Baxandall then uses this framework to consider the production of paintings, with the artist in the role of the engineer. 

    Curiously, Baxandall's first application of this framework is not, as might be expected, to a case in which a Renaissance prince or cardinal hired a painter to execute a commission, but rather to Picasso in 1910.84 Since Picasso was not hired by Daniel-Henry Kahnweiler to paint his portrait, much less given a set of criteria for the work, Baxandall must begin by making a series of adjustments to his framework to apply it to this situation. My object here is not to argue with Baxandall's conclusions, nor is it to understand his motivation in proceeding in such a roundabout way. My point is simply that in approaching the issue of modern artists' motivations it would appear more pragmatic to begin with a model that is closer to the situation of the modern artist. And we do not have far to look for such a model, for there are strong parallels between the situation of the modern artist and that of the research scholar. 

    Like the scholar, the modern artist's goal is to innovate--to create new methods and results that change the work of other practitioners. Most often, this involves not only solving problems, but also formulating them. Most great modern art, like most great scholarship, is unlike the case of the bridge, in which someone hires an agent to solve a recognized problem. In most cases important scholarly and artistic innovations come from perceiving a previously unrecognized problem, or formulating a previously recognized problem in a novel way, before creating a solution to it. And since in both scholarship and art questions are usually more durable than answers, the principal contribution often lies more in the recognition and formulation of the problem than in the specific solution offered. 

    This parallel between artists and scholars is not novel, for it has been drawn by several art scholars. In a lecture first given in 1948 the historian Meyer Schapiro compared modern artists to scientists in their commitment to "endless invention and growth" in their respective disciplines.85 And in his 1962 book, The Shape of Time, the historian George Kubler regretted our "inherited habit of separating art from science," for he observed that "the value of any rapprochement between the history of art and the history of science is to display the common traits of invention, change, and obsolescence that the material works of artists and scientists both share in time."86 Yet these analyses of Schapiro and Kubler have been largely ignored by art historians, perhaps because they conflict with the romanticized view of the artist's enterprise that serves as the implicit foundation for much of art history.87 It is unfortunate that the parallel between artists and scholars has not been more widely recognized, for it might have served as a corrective to some of the less compelling analyses of artists' motivations, by social scientists as well as humanists. We understand, for example, that in the first instance nearly all important scholarship is produced for an audience of other scholars. Scholars may do this out of pure intellectual curiosity, but even if their goals are more self-serving, they recognize that influence within their discipline will often help them achieve fame and fortune. Great artists appear to be no different. They may work from a variety of motives, but their first goal is generally to influence their fellow artists. They understand that if they are successful in this, public acclaim and lucrative sales will generally follow.88 

    The careers of successful scholars and artists also have a common structure. At the graduate level, most important scholars have worked with a teacher who is himself an important contributor to the discipline. The same is true for artists. Few important modern painters have been self-taught, for at a formative stage of their careers most have studied, formally or informally, with successful older artists, who not only provided them with technical instruction and advice, but also inspired and encouraged them. Similarly, just as at an early stage of their careers most successful scholars have studied and worked closely with other promising scholars of their own generation, virtually all successful modern artists have initially developed their art in the company of other talented young artists. In some celebrated cases, including those of the Impressionists and the Cubists, these relationships involved collaborating to solve a problem of common interest, but even when the artists' goals differed considerably, these alliances provided moral support as well as challenges to the young artists involved. Thus, for example, Robert Rauschenberg recalled that at a time when he and Jasper Johns were developing their art with little understanding or encouragement from the art world at large, the support they gave each other gave them "permission to do what we wanted."89 The complexity of these early collaborations is suggested by Gerhard Richter's comments on his relationship with two fellow art students, Sigmar Polke and Konrad Lueg, in the early 1960s. At the time, in 1964, he wrote: "Contact with like-minded painters--a group means a great deal to me: nothing comes in isolation. We have worked out our ideas largely by talking them through. Shutting myself away in the country, for instance, would do nothing for me. One depends on one's surroundings. And so the exchange with other artists--and especially the collaboration with Lueg and Polke--matters a lot to me: it is part of the input that I need." Nearly thirty years later, when an interviewer asked him about his earlier collaboration with Polke and Lueg, Richter stressed a different aspect of it: "There were rare and exceptional moments when we were doing a thing together and forming a kind of impromptu community; the rest of the time we were competing with each other."90 All these early collaborations probably contain elements of both cooperation and competition, and both are probably critical to the early development of ambitious artists. The importance of these collaborations is sometimes overlooked, for they usually dissolve as artists age and their interests diverge, but it is important to notice how often the contributions even of apparently isolated artists are in fact the product of working out solutions to problems that were formulated earlier in groups. 

    The distinction I have drawn between the two types of artistic innovator is equally not a new one, for the difference in artists' approaches has been noted by several art scholars. In his survey of the history of modern art Alan Bowness observed that the difference between what he called realist and symbolist artists "may depend on certain basic temperamental differences among artists--on, for example, the degree to which the painter or sculptor can envisage the finished work of art before he starts to make it."91 The critic David Sylvester made a similar observation in comparing two generations of American painters, as he noted that "some artists like to think that they are working in the dark, others that they are firmly in control"; whereas the Abstract Expressionists "subscribed to the idea that making art meant feeling one's way through unknown territory," the work of the leading artists of the 1960s was "carefully planned, tightly organized, precise in execution."92 

    Although both Bowness and Sylvester clearly recognized the distinction I have described here, neither pursued it, and, most important, neither appears to have perceived its most startling implication--the difference in the creative life cycles of the two groups of innovators. I have found only one case in which an art scholar does appear to have identified essentially this difference in life cycles. Roger Fry devoted his inaugural lecture as professor of fine art at Cambridge University in 1933 to outlining a more systematic approach to the study of art. In the course of this attempt, Fry observed that an artist's experiences must inform his work, and that "the mere length of time that an artist has lived has then inevitably an influence on the work of art." Fry then continued: 

    When we look at the late works of Titian or Rembrandt we cannot help feeling the pressure of a massive and rich experience which leaks out, as it were, through the ostensible image presented to us, whatever it may be. There are artists, and perhaps Titian and Rembrandt are good examples, who seem to require a very long period of activity before this unconscious element finds its way completely through into the work of art. In other cases, particularly in artists whose gift lies in a lyrical direction, the exaltation and passion of youth transmits itself directly into everything they touch, and then sometimes, when this flame dies down, their work becomes relatively cold and uninspired. 
    After making this statement, Fry immediately acknowledged the casual nature of his comments, conceding apologetically, "I fear a great deal of this must appear to you to be rather wildly speculative and hazardous."93 Although it is not known whether Fry intended to pursue this particular observation, his death the following year prevented any effort on his part to document the hypothesis, and although many decades have passed since Fry spoke, no art historian has taken up the challenge to do this. Yet today, seventy years later, I believe that my research provides a firm evidentiary basis for Fry's remarkable generalization. 


    Return to Book Description

    File created: 2/6/2006
     
    Questions and comments to: webmaster@pupress.princeton.edu
    Princeton University Press

    南方朔:《憤怒之愛:60年代美國學生運動》迎接第四次台灣青年民主運動 /百年追求:臺灣民主運動的故事(3冊套書 陳翠蓮 吳乃德 胡慧玲 )

     南方朔《憤怒之愛:六〇年代美國學生運動》台北:四季,1980

    ( 南方朔 (本名王杏慶):現年35歲。他是位比台灣人還台灣人的外省人。......他的理想是:幸福的台灣、光榮的中國、和平的世界。.....翻譯作品有十餘種。)


    世界性學運

    Image may be NSFW.
    Clik here to view.
    圖為《修倫港宣言》起草人湯姆‧海登老年時(Photo by KCET Departures
    南方朔於序言說道:「60年代的學生運動,更精確的說法應該是以學生為基幹的知識份子運動,是個世界性的運動,它不但在自由世界普遍的展開,也同時在共產世界綿延不絕。」全書共11章,詳細敘述了當時學運的成因,並針對其日後對美國內政與國際局勢造成的影響有一番精闢的分析。
    1960年代初期,許多黑人仍遭到不平等對待,也沒有投票權,許多白人學生志願為他們爭取權益,組成了「學生民主社會聯盟」(SDS),是當時最重要的學運組織。該組織的領袖,密執安大學研究生湯姆‧海登(Tom Hayden)於1962 年6月發表了《休倫港宣言:一個世代的議程》(Port Huron Statement: Agenda for a Generation)。
    該宣言的開頭為:「我們是屬於這個世代的年輕人,我們是在舒適中成長,但是我們卻不安地凝視著這個環繞我們的世界。」除了提倡人權,更重視學生們對參與式民主的想像,強調民主不能只是政治場域中的選舉,而必須落實在社區、工作和學校場域,可謂世界學生運動史上最著名的宣言。
    SDS聯盟成員在全美各校園演講,吸引上千名學子一同投入對戰爭、種族壓迫和官僚政治的抗爭,共同催生後來的「民權法案」和「投票法案」。

    南方朔:迎接第四次台灣青年民主運動

    十一月十五日,政大圖書館舉辦了有關「大學雜誌」和台灣民主化的論壇,承蒙政大的好意,請我去做了專題演講。

    我 在演講中指出,台灣知識青年的民主運動大集結,以前有過三次,而亳無疑問的,現在已到了知識青年第四次大集結的時候。今年以來,年青的一代,無論是否在 學,都廣泛的參與各類公民運動,提出他們的訴求和期望,充份顯示了他們的民主認知超過了上一代。這是台灣深化民主的最大動力。台灣的當權者們卻只會在丟鞋 子這種問題上做文章、搞醜化,他們的程度真是差遠了。因此,台灣第四次知識青年的大集結是可實現以待的。

    台灣以前有過三次青年民主大集結:

    第一次是在日治的大正昭和交接的年間,殖民地的台灣進入了現代。當時的台灣青年首次啟蒙,形成了波瀾壯闊的民主運動,但被日本殖民政府強力的彈壓了下去。

    第二次知識青年民主大集結是在一九五○至一九六○年代雷震的「自由中國生日刊」主導的組黨運動。這個民主運動的主導者是國民黨內的自由派官吏,台灣的本土力量只是配角。「自由中國生日刊」的民主運動和一九五七年開始的「文星」雜誌新文化運動,對台灣都有過正面作用。

    但因為它都是國民黨內的自由派所主導,它也造成了一定的副作用,台灣有些人省籍歧視因而形成,他們認為台灣本地人是政治及文化水準較差的族群。

    第三次知識青年和本土型民眾大集合,是在一九七○年代出現。戰後成長的一代開始覺醒,最初是朦朧曖昧的聯合,到了後來真有本土認同的青年和民眾崛起。台灣進入了民主抗爭階段,雖受到壓制,亦屢仆屢起,遂有了一九八六年的反對黨成立,並替台灣的政權轉換創造了條件。

    而現在正在進行中的第四次知識青年大集結。今天的馬政府乃是國民黨權貴子弟所講的「革新保台」的一代。它繼承了長期的歧視文化,又再加上新的學歷歧視,因而台灣人民以前都認為它們是優秀的,是有能力的。但舊政府演變到現在,已證明了:

    (一)它對台灣缺乏了基本的認同,一個對台灣缺乏認同,對本地百姓缺乏了關心的政權,它當然不可能制訂出對的政策,不可能增加台灣人民的福祉。因此馬政府的無能主政,等於它是自動瓦解了國民黨權貴世代的「革新保台」的價值體系,台灣年青一代對本土的新認同因而出現並凝聚。

    (二)馬政府繼承了台灣的「省籍歧視」和「學歷歧視」,這也是它敢於唬弄民眾,只靠文宣治國的原因。

    當馬政府無能,影響台灣最大的這兩個歧視結構形同自然消失,普通人民的聲音開始抬頭。

    台灣的民主進入了人民作主的階段。青年的一代已開始對民主的細部問題展開思考。

    (三)由馬政府任內台灣的貪腐盛行,政商勾結共生,已使台灣青年的一代,對國民黨的統治結構有了更多的反省和覺悟,這對將來的民主深化將有極大的助益。

    因此,我對馬政府的無能、貪腐及濫權,真實是很感謝的,它自己瓦解了它的統治神話,才給了人們重新思考覺醒的空間,台灣青年一代的大集結,一定可以開創一個新的時代!


    *****
    1.或許可算後見之明: 這套書應分成兩套-兩版本: 一種是合乎基本學術規格的書/另一套是普及本/故事本

    2. 吳國精先生建議從黃仁宇的『大歷史』角度看台灣百年。

    戴國煇《台湾―人間・歴史・心性》1988是可參考的小書228頁寫作有索引6頁台灣史年表8頁http://hcbooks.blogspot.tw/2013/10/blog-post_22.html



    卡洛
    謝謝贈書: 由於要將妳的贈書轉給玉燕看 我稍將每本翻翻.
    這套書沒注(出處)和索引等的確很令人遺憾
    你寫的不錯如聽眾在金華國中戴起面具掩護某翻牆回台的志士等等
    很有戲劇性很感動 
     禁書時代

    中卷我最不滿意吳兄的學問不夠紮實主見太深
    書評:

    吳乃德先生或許喜吊書袋﹑,在百年追求叢書自由的挫敗》中問題可能不少。
    對胡適了解很有限(129認為胡適一生只有他說的兩貢獻,有點可笑)把胡頌平當成他兒子,真不可思議,p.275。對於他認為胡適在吳國禎事件是看了特務提供的資料,以及詳細列出50年代初蔣介石每次會給胡適5千美金的事,可以進一步研究。
    由於本書採通俗寫法,沒注出處,所以我對作者多次引用王世憲,懷疑應是王世杰?

     ----
     王先生不知道啟明人物就是成功也要身退.
     "自由中國 VS 文星"對台灣的影響力待查

    王健壯:未完成的遺囑


    Image may be NSFW.
    Clik here to view.
    再過幾天的十一月二十三日,就是「雷震案」覆判定讞五十三周年紀念日。
    半世紀來,研究《自由中國》或回憶雷震的文章很多,但吳乃德最近出版的〈台灣民主運動的故事卷二:自由的挫敗〉,卻是其中最值得一讀的著作。
    吳乃德的書雖非以學術論文形式為之,但學術研究元素卻無一不具備。他雖非歷史學者,但寫史之才、學、識、德,卻也無一或缺。〈自由的挫敗〉敘述的雖是前代史,但卻與當代史有對話、對照的現實意義。
    一 年多前,我曾經寫過一篇文章,其中有幾段文字談到《自由中國》那批知識分子:「去年因為教書需要,重新翻閱擺在書架上層但早已多年不曾碰觸的《自由中國》 半月刊,本來祇是想從其中尋找一些言論自由的歷史註腳,但結果卻被一篇又一篇六十年前那些早已變成古人所寫的文章突然震懾:以今視昔,那些言論雖然卑之無 甚高論,但在那個時代那樣的政治氛圍中,那些人不僅在字裡行間證明自己是一群有道德勇氣的知識分子,更向後代的人證明,他們也是一群有進步意識的知識分 子。」
    「進步意識代表他們不同於流俗,不走政治正確路線,不博大眾的喝采,也不被成見所束縛,他們站在知識的高度上評人論政並且指點江山; 『即使是在最黑暗的年代,我們也有權去期待一種啟蒙,這個啟蒙或許並不來自理論和概念,而是更多地來自一種不確定的、閃爍而又經常很微弱的光亮』,漢娜鄂 蘭寫的這句話,好像就是在形容《自由中國》那些年那些人的那些文章,他們是黑暗年代中不間斷地在閃爍的那些光亮,燭照當年,也引領後世。」
    像 這樣的知識分子,當然也讓我在字裡行間難免有這樣的感慨:「我在課堂上向坐在講台下那群才剛二十歲出頭的年輕學生,述說那段歷史也傾訴我的感觸,那堂課的 結論也想當然爾會發出這樣的感嘆:那樣的時代早已遠颺,那樣的傳統早已消失,那樣的知識分子更是上下求索而難得其一二;而且,當前學界中不知有多少人在感 慨『一管書生無用筆』,有多少人的書齋中不時隱約可聞『萬古書蟲有嘆聲』。」
    「換另一種說法吧:在當前這個時代裡,知識分子是沒有位子、找不到位子或者被擺錯位子的一群人,其中即使有少數人心有所憂甚至心所謂危而不得不言,但其結果也無非祇是『縱使文章驚海內,紙上蒼生而已』,嘗盡了闌干拍遍無人問的滋味。」
    「其 實,有很多非常簡單的石蕊試紙實驗,可以檢測台灣現今知識分子角色究竟是否已然日趨沒落的假設:有多少人仍然一以貫之『以道抗勢』?有哪些人已墮落成為媒 體統治文化中的聒噪階級?有多少人身在學界卻長期擺出倚附權勢的姿態?誰是public intellectual?誰又是partisan intellectual?其中任何一項實驗,都會證實假設的正確。」
    「余英時先生曾經這樣描述過知識分子:『知識分子最不可愛的性格之 一,便是他們對於國家的基本政策或政策路線,往往不肯死心塌地接受,不但不肯接受,有時還要提出種種疑問和挑戰』,這段話淺白易懂卻知易行難,當今台灣能 有幾人敢當之無愧自期自許是余英時筆下那種類型的人?並且不是偶一為之,而是始終如一屬於那種類型的人?」
    余英時對知識分子的定義,其實在雷震與《自由中國》那批知識分子身上,都可以找到註腳。
    吳 乃德一向推崇赫緒曼(Albert Hirschman),赫緒曼在七0年代寫過一本書Exit, Voice, and Loyalty(叛離、異議與忠誠),這本書的書名,不但可以拿來形容雷震與《自由中國》那批知識分子,也是〈自由的挫敗〉那本書中時隱時現的一個主題。
    雷震曾是蔣介石的親信,《自由中國》最早走的也是「擁蔣反共」的路線,這是雷震與《自由中國》的「忠誠」一面。
    但 〈政府不可誘民入罪〉那篇文章,痛批保安司令部濫權,卻是《自由中國》的「異議」第一聲;也是《自由中國》由「擁蔣」走向「反蔣」,從「忠誠」轉為「異 議」再轉為「叛離」的序曲。雷震也從此變成了吳乃德所形容的「意外的反叛者」。蔣介石之所以親辦且嚴辦「雷震案」,正是因為雷震的意外反叛者角色,讓他恨 之忿之必欲去之而後快。
    雷震坐牢十年,雖曾感嘆「十年歲月等閒度,一生事業盡消磨」,但他出獄後,仍然撰寫長篇〈救亡圖存獻議〉給蔣介石,仍然寄望曾經關過他的人能有所改革,這是他的天真,當然也是他的執著。
    雷震的天真,釀成了他個人的悲劇;但他的執著,卻讓他與《自由中國》都變成了典範,就像吳乃德所說,「他們的言論卻成為我們政治社區的道德資產,在那樣的時代中,如果沒有人發出類似的言論,如今回顧歷史我們必然感到羞慚」。
    但回顧歷史,另外應該感到羞慚的是:在我們這樣的時代中,哪裡還找得到另一個天真的「雷震」,以及另一個執著的「雷震」?
    「民 主轉型其實祇是國家轉型的第一哩路,政體轉型後的政策轉型、治理轉型與政治文化轉型,才是接下來應該走卻很難走的下一哩路;而且,有了民主政體並不代表就 有了民主效能,有了民主效能也不表示就有了民主品質;更重要的是,在這條『路漫漫其修遠兮』的下一哩路途中,政治人物不能踽踽獨行,知識份子更不能缺席, 即使他們不願與政客結伴同行,但卻不能不像一盞閃爍而微弱的光亮,走在隊伍的前面指引方向。」
    這是我在一年多前那篇文章中,對知識分子沒落的一些感慨,也可以算是我看完〈自由的挫敗〉的讀後感:雷震那一代知識分子的遺囑,雖然像吳乃德所說「在下一代人手中完成」,但我們這一代人呢?我們到底或者能夠留下什麼遺囑?


    -----

    百年追求叢書自治的夢想》某些日文漢字可能要解釋,譬如說,頁251"台灣的公職追放令:

    第一卷:
    ついほう【追放】
    1 〔追い払うこと〕banishment, expulsion; 〔自国・故郷からの〕exile ((from)); 〔不法入国者などの国外追放〕deportation追放する banish, ...
    ついほうかいじょ【追放解除】
    〔公職からの〕a depurge; restoration [rehabilitation] of the status of purged persons



    Image may be NSFW.
    Clik here to view.
    Image may be NSFW.
    Clik here to view.

    百年追求:臺灣民主運動的故事(3冊套書)
    作者:

    陳翠蓮、吳乃德、胡慧玲

    出版社:衛城出版
    出版日期:2013

    一八九五 到 一九八六
    這是一份臺灣的民主履歷
    三個世代追尋的民主之花

    從一八九五年成為日本殖民地到一九八六年民進黨成立,臺灣用不到百年的時間,跨越了民主的門檻,擁有了合法反對黨的存在和公平競爭的選舉。這是民主轉型最核心的關鍵。
    臺灣第一波民主運動發生於日本殖民統治之下。這一波民主運動是臺灣人追求現代性的起步,臺灣人透過殖民者,睜開了眼睛,認識了世界。隨著殖民者戰敗,臺灣第一波以啟蒙為主的民主運動也宣告結束,且在政權轉換的階段中,發生了二二八事件。
    國府來臺後的獨裁統治,開啟了第二波民主運動。初期以外省籍自由主義知識份子為中心,透過《自由中國》雜誌,對蔣介石的威權獨裁提出言論挑戰。後來更與本土菁英合作企圖成立反對黨,可惜這次的匯流最後以遭整肅宣告失敗。
    然而隨著戰後世代的成長,第三波民主運動很快到來,以「黨外」的身分繼續挑戰威權體制,黨外人士繼續辦雜誌,並開始參與選舉。不同於上一波民主運 動,全面性的整肅和處罰未能讓民主運動消逝,反而讓獨裁政權失去正當性。更多人的參與讓民主運動更為茁壯,而人民的支持也更熱烈。當強力壓制無效,獨裁政 權只有讓步。
    和其他民族相較,臺灣的民主運動並不特別壯烈,不特別曲折,也不特別艱難。不過這卻是我們自己的故事。

    卷一 自治的夢想 陳翠蓮
    一九二○年代日本大正時期,解放的思潮影響著亞洲各國青年,在那個臺灣識字率只有三.九%的年代,已有一批在日本留學的知識青年,喊出「臺灣是臺灣人的臺灣」,成立臺灣文化協會,發起臺灣議會設置請願運動。從日治到二戰後的二二八事件,是臺灣追尋自治之夢的時期。

    卷二 自由的挫敗 吳乃德
    這個運動的外省籍知識分子和政治人物,在自由主義於中國潰敗後,試圖在台灣新領域中做最後的嘗試。思想的敵人共產主義雖已阻隔於海峽對岸,可是卻 為蔣氏父子的法西斯主義所籠罩。本土政治人物則是日據時期反殖民運動的殘存。殘酷的二二八事件剛過不久,記憶猶新。他們一直努力在地方政治中維持最起碼 的、有尊嚴的存在。兩群人多已過生命中最熱情、進取的階段。這個運動或許可以視為,他們在生命晚期共同寫下的政治遺囑。

    卷三 民主的浪潮 胡慧玲
    一九三一年臺灣民眾黨遭總督府下禁止結社令,一九六○年中國民主黨尚在籌組階段,組黨人士就被國府逮捕,直到一九八六年九月,在一波波的黨外運動 中,臺灣第一個合法的反對黨終於成立了,組黨人士準備三梯次「待補名單」,表明前仆後繼的決心。當時的總統蔣經國發表談話,「世事在變,局勢在變,潮流也 在變」,要像美麗島事件一樣全面逮捕,確實已經不可能了。

    作者簡介
    陳翠蓮
    臺灣大學政治學博士,臺灣大學歷史系教授。曾任自立晚報記者,主要研究領域為日治時期臺灣政治史、戰後臺灣政治史。已出版《派系鬥爭與權謀政治 ──二二八悲劇的另一面相》、《戰後臺灣人權史》(合著)、《二二八事件責任歸屬研究報告》(合著)、《臺灣人的抵抗與認同,1920~1950》等。
    吳乃德
    芝加哥大學政治學博士,現任中央研究院社會學研究所研究員。曾任黨外雜誌《新潮流》 編輯,美國安娜堡密西根大學社會系訪問副教授,清華大學社會系、臺大社會系合聘教授,臺灣政治學會創會會長,民間真相與和解促進會會長。
    胡慧玲
    臺灣大學歷史學系畢業。曾任職《自由時代》雜誌社 、陳文成博士紀念基金會。著有《我喜歡這樣想你》、《島嶼愛戀》、《十字架之路——高俊明牧師回憶錄》等書。曾從事基隆地區和臺北地區二二八口述歷史採 訪,合著《悲情車站二二八》等五書,以及合著《臺灣獨立運動的先聲─臺灣共和國》、《白色封印》、《在異鄉發現臺灣》。現任上尚講堂策畫人。

    導言:我們共同的故事

    吳乃德

    這是臺灣三個不同世代試圖創造民主的歷史。歷史不是他鄉,我們到此一遊只為了滿足好奇。歷史紀錄我們如何共同從過去走到現在;歷史也提供我們想像和啟發,如何共同從現在走向未來。這些故事是我們共同的記憶,也是社區認同的重要基礎。
    民主運動是一齣道德劇。我們凝視前人的成就和限制,從中領悟我們具有的潛力,以及或可能超越的限制。我們也從中體認:我們之所以有今天,並非歷史 的必然。任何民族的黃金時代或災難,主要來自人在其中所發揮的作用;人的辛勤、或人的愚昧。這樣的體認讓我們不致對自己失去信心,也不敢對未來加以輕忽。
    民主運動是人試圖成為自己的主宰,並依其理念重構社會的奮鬥。追求自主首先必須免於壓迫,不論壓迫是來自外來殖民者、本土獨裁者、或是自己內心。 臺灣第一波民主運動發生於日本殖民統治之下。這一波民主運動是臺灣人追求現代性的起步;它是一個全面性的啟蒙運動。臺灣人透過殖民者,睜開了眼睛,認識了 世界。正如大多數處於青春期的青少年,當時的臺灣人普遍熱烈地追求知識,渴望教育;試圖了解這個世界,也了解自己。第二次大戰開始的時候,六百萬的臺灣人 中已經有近五萬人畢業於日本的大學。
    追求「現代性」成為當時臺灣人的熱潮。現代性的核心是「人的自覺和自主。包括對世界好奇,對自己的判斷自信,懷疑教條、反叛權威,對自己的信念和 行為負責,為過去的古典啟發、卻同時獻身於偉大的未來,對自己的人性感到驕傲,體認身為創造者所具有的藝術力量,確信自身對自然的理解力和控制力。」
    以啟蒙為目標,第一波民主運動希望擺脫的不只是殖民者的壓迫體制,也是內心的偏見和無知。這一波的民主運動中,現代世界的知識,經濟、政治、法 律、宗教等被傳授,現代世界的藝術活動被學習,現代世界的愛情觀、女性地位被討論,各種不同的政治理念被爭辯。反殖民運動的參與者嘗試當代所有的思想藥 方,不過卻沒有機會完成其中任何一項。隨著殖民者戰敗、臺灣成為中國一部份,這一波的民主運動也結束。
    殖民者離開臺灣之後,臺灣人面臨更嚴峻的挑戰。他們首先面對二二八的血腥屠殺。反殖民運動的領導人,部分人先前即已逝世,如蔣渭水、林幼春、楊吉 臣、王敏川、賴和、蔡惠如等。他們因此未能體驗祖國的真實面貌,也未能啟示後代此種艱難時刻應如何自處。部分人選擇依附新的政權。部分人則流亡海外,如林 獻堂、李應章、石煥長、王萬得、蔡阿信等。部分人選擇在故鄉中自我放逐,不再過問公共事務,如連溫卿、林呈祿、陳逢源、韓石泉、蔡式穀、葉榮鍾、邱德金 等。可是也有部分人繼續奮鬥,在第二波民主運動中重新站上歷史舞臺。
    第二波民主運動初期以外省籍自由主義知識份子為中心,透過《自由中國》雜誌,對蔣介石的威權獨裁提出言論挑戰。和前一波的反殖民民主運動相較,這 一波民主運動的思想格局顯得侷限。先前熱烈討論的現代性諸面向,政治的、經濟的、階級的、思想的、宗教的、性別的,如今都不復可見。運動的唯一目標和思 想,是西方式的自由民主體制。然而也因此讓運動更統一,目標更聚焦。而且,更為直接面對強權,因此也需要更大的勇氣。
    在這一波運動的後期,外省籍自由主義者開始超越以言論批判威權獨裁。他們和具有社會基礎的本土菁英結合,試圖成立反對黨。本省人和外省人結合,以 行動挑戰獨裁體制,試圖促成民主在臺灣出現。在二二八所造成的強烈族群敵意中,他們的結合為臺灣政治帶來新的想像,雖然他們心中仍有疑慮,雙方的認同也有 所差異。
    運動中的外省籍知識份子,是中國近代歷史的延續。自由主義在中國失敗之後,他們試圖在新領域做最後的嘗試。運動中的本土菁英則多為反殖民運動的延 續。他們試圖在新政權、新殖民主義下,重新啟動追求平等和自主的抗爭。中國歷史和臺灣歷史,共同匯流成這個運動。可惜最後的嘗試、和最後的抗爭,都以失敗 告終。這個運動或許可以視為:兩羣人在生命後期共同寫下的政治遺囑。
    行動雖然失敗,他們的言論卻成為我們政治社區的道德資產。在那樣的時代中,如果沒有人發出類似的言論,如今回顧歷史我們必然感到羞慚。
    他們的遺囑終在新一代人手中完成。戰後出生和成長的一代,成為第三波民主運動的主力和支持者。相同於前一波民主運動,他們創辦雜誌,以言論批判威 權體制。他們也透過選舉擴充社會基礎,建立號召人民的反抗中心。也相同於前一波民主運動,他們遭受獨裁者的壓迫。壓迫上一波民主運動的獨裁者,其兒子如今 以更嚴厲的方式、更大的規模,壓制這一波民主運動。所有運動領導人和積極參與者,都遭受逮捕和嚴峻的處罰;大多數的民主運動者失去自由,有人則失去母親和 女兒。
    然而,不同於上一波民主運動,全面性的鎮壓並未能讓民主運動消逝,反而讓獨裁政權失去正當性。更多人的參與讓民主運動更為茁壯,人民的支持也更熱 烈。當強力壓制無效,獨裁政權為了避免更大的災難,只能讓步。結局是,臺灣人終於獲得將近一百年的追求:民主、平等、自主、和尊嚴。
    這正是臺灣民主化最重要的啟示:人民對民主的堅持、前仆後繼,終於逼迫獨裁者做出民主妥協。認為臺灣民主由蔣經國所推動,長達三十年白色恐怖期間實際負責情治系統的獨裁者,曾經嚴厲鎮壓民主運動的獨裁者,這是對臺灣歷史的最大誤解、最大扭曲。
    和其他民族相較,臺灣的民主運動並不特別壯烈,不特別曲折,也不特別艱難。不過這卻是我們自己的故事。這些故事不是抽象的理念,而是上一代的我們、曾經在同一土地上生存、工作的先人,他們的憧憬、無畏、侷限、和困頓,至今都仍然和我們有著各式各樣的牽連。
    牛津大學一位政治哲學家曾經用《小王子》的故事,討論我們情感所認同的對象是否必須具備獨特性。小王子有一盆玫瑰花,他非常得意,也非常喜歡。有 一天小王子經過一個花園,看到滿園的千朵玫瑰;和它們相較,他的玫瑰並不特別突出,於是小王子傷心流淚。狐狸要他回家去,好好仔細端詳他的玫瑰。小王子依 照狐狸的建議,也終於領悟,向滿園的玫瑰說:
    你們很漂亮,可是你們卻是空虛的。沒有人願意為你犧牲生命。我的花看起來和你們一模一樣,可是她是我灌溉的,她是我放在花盆中保護的,她身上的蟲也是我除的。我聽過她的哀怨,我也聽過她的驕傲;有時候我甚至聆聽她的沈默。因為她是我的玫瑰。
    臺灣之所以獨特,是因為眾多和我們有所連結的先人,他們在其上的工作,如今成為我們共同的故事、共享的記憶。臺灣之所以獨特,也因為我們今天對它的灌溉。

    目錄
    導言 我們共同的故事
    卷一 自治的夢想
    第一章 帝都的洗禮
    第二章 抵抗的策略
    第三章 在團結的旗幟下
    第四章 想像文明臺灣
    第五章 統治者的對策
    第六章 走向階級運動
    第七章 一網打盡
    第八章 戰爭陰影下
    第九章 迎接新時代
    第十章 祖國來的殖民者
    第十一章 全島起義
    第十二章 夢碎
    卷二 自由的挫敗
    第一章 意外反叛者
    第二章 衝撞黨國言論
    第三章 燃燒的民主思潮
    第四章 獨裁正面總攻擊
    第五章 組黨之夢
    第六章 啟動組黨
    第七章 民主星火彈滅
    第八章 明天過後
    第九章 文化禁錮
    第十章 青春火燄
    第十一章 預告民主運動
    卷三 民主的浪潮
    第一章 苦悶的臺灣
    第二章 蔣氏父子
    第三章 回歸本土
    第四章 選舉萬歲
    第五章 講沒完的政見
    第六章 沒有黨名的黨
    第七章 大逮捕
    第八章 大審判
    第九章 血雨腥風
    第十章 黨外再起
    第十一章 狂飆年代
    第十二章 我思故你在
    第十三章 組黨
    故事的結尾:人的意志、人的價值
    主要參考書目
    臺灣民主百年大事記
    Top

    《何日君再來》、『「李香蘭」を生きて 私の履歴書』 The Imperial Screen: Japanese Film Culture in the Fifteen Years


    感謝團友 Silvia Hsu 分享一張日本時代巨星李香蘭的照片(1943 松山虔三攝影)
    最近聽到小道消息說臺南某戲院將於九月中旬舉辦一系列李香蘭回顧影展,如果消息成真那可真是令人期待呢!就來分享一下關於巨星李香蘭的簡單介紹吧!
    李香蘭本名山口淑子,1920年出生於奉天。1933年開始學習聲樂,曾在滿洲國歌曲大賽中獲獎,並於1937年進入電影界,成為滿州國頭號巨星,拍攝多部電影。之後李香蘭旋風席捲亞洲,成為臺灣人心目中最紅的影歌星。
    1941年李香蘭與樂團來到臺灣各地巡迴演出,引起大轟動!其中在臺南的演唱,讓許多老一輩的人至今難以忘懷。之後在臺灣拍攝了電影「莎韻之鐘」,敘述一名泰雅族少女沙韻因協助日籍教師搬運行李,不幸在風雨中渡河溺水的故事。戰後李香蘭一度險些成為國民政府整肅的對象,所幸最終脫險回國。
    轉眼間幾十年過去了,不妨一起來回顧,這位許多人父母親或阿公阿嬤當年曾瘋狂追逐的超級巨星 – 李香蘭。
    ☆☆☆☆☆
    台灣回憶探險團 台灣回憶募集中,各位團友若有任何關於台灣的老照片、影片或是文獻,都歡迎投稿與大家分享討論哦~~!






     東寶各明星免費為山口淑子(李香蘭)站台的息影之作.....
    東京の休日』(とうきょうのきゅうじつ)は、1958年日本映画東宝山本嘉次郎監督作品。
    山口淑子の芸能生活20周年記念映画であり、女優引退記念映画でもある。


    東京の休日
    監督山本嘉次郎
    脚本井手俊郎
    山本嘉次郎
    製作堀江史朗
    出演者山口淑子
    三船敏郎
    原節子
    池部良
    司葉子
    音楽松井八郎
    撮影山崎市雄
    編集黒岩義民
    配給東宝
    公開Image may be NSFW.
    Clik here to view.
    日本の旗
    1958年4月15日
    上映時間87分
    製作国Image may be NSFW.
    Clik here to view.
    日本の旗
    日本
    言語日本語
    ****
    http://www.youtube.com/watch?v=Fczgyjydz0s

    歌ふ李香蘭(山口淑子)/戰後編

    Uploaded on Feb 11, 2012
    01 情熱の人魚(映畫『情熱の人魚』主題歌) 00:09
    02 月に寄せて(映畫『情熱の人魚』插入歌) 03:23
    03 戀の流れ星 06:15
    04 懷かしのタンゴ 09:32
    05 夜來香(映畫『東京の休日』、『上海の女』插入歌) 12:32
    06 想ひ出の白蘭 15:30
    07 東京夜曲(映畫『東京夜曲』主題歌) 18:31
    08 夢で逢いませう(共唱:灰田勝彦) 21:56
    09 東京ロマンス娘 25:06
    10 東京コンガ 28:33
    11 愛の花びら(La Vie en Rose) 31:52
    12 珊瑚礁の彼方に(Beyond the Reef) 35:02
    13 ロンドンデリーの歌(Londonderry Air) 38:19
    14 步きませう 40:56
    15 暗い部屋 44:17
    16 花はなんの花(五木の子守唄) 47:47
    17 花のいのちをたれか知る 51:02
    18 ふるさとのない女(映畫『上海の女』插入歌) 53:54
    19 何日君再來(映畫『上海の女』插入歌) 57:28
    20 郊外情歌(映畫『上海の女』插入歌) 1:00:35
    21 春風春雨(あたしを抱いて)(映畫『上海の女』插入歌) 1:03:57
    22 黑い百合(映畫『抱擁』插入歌) 1:07:16
    23 蘇州夜曲(映畫『支那の夜』、『抱擁』插入歌) 1:10:09
    24 とこしへに(Eternally)(映畫『ライムライト』主題歌日本語版) 1:13:03
    25 七人の侍(映畫『七人の侍』主題曲) 1:16:29
    26 しらとり韶(映畫『白夫人の妖戀』主題歌) 1:20:01

    戰前・戰中編→http://youtu.be/g2RetoXATFg
    • Category

    • License

      Standard YouTube License

    ***
    2013.12.13日文課下一小時NHK 可以說是《何日君再來》"何"日軍"/軍/君再來 "的文化史---還訪問李香蘭/山口淑子. (沒記下片名--擊鼓主角  憾事)
     好花不常開好景不常在愁堆解笑眉淚灑相思帶 (什麼意思?按照正式的词序应该是“带相思”吧。) 今宵離別後何日君再來喝完了這杯請進點小菜人生難得幾回醉不歡更何待今宵.何日君再來 · 作詞:沈華作曲:劉雪庵
     《何日君再來》是中國近代史上受到歡迎的經典中文歌曲,最初是1937年電影三星伴月》的插曲,是上海中國化學工業社為宣傳國產的上海「三星牌牙膏」而資助拍攝,歌曲由剛剛成名的周璇主唱,並灌成唱片,由上海百代唱片發行。1939年香港製作的電影《孤島天堂》中,又由黎莉莉主唱作為插曲。1940年李香蘭滿洲國灌唱成唱片,由百樂唱片帝蓄唱片分別發行,結果比周璇原版更風行。李香蘭回日本後,在1952年又唱一次,由哥倫比亞唱片在日本發行。
    *****

    李香蘭

     和川島芳子同時代、其精彩人生也絕不亞於川島芳子的不平凡女性!
      一個道道地地的日本人,在中國出生、在中國長大,直到十八歲才有機會第一次踏上日本的土地。在因緣際會下,李香蘭在中國的土地上成為家喻戶曉的大明星,卻被迫隱藏自己是日本人的事實。
      從二次大戰前到戰後,影歌雙棲的李香蘭紅遍中國和日本,她主演的電影「白蘭之歌」、「支那之夜」座無虛席;她演唱的歌曲「夜來香」、「何日君再來」、「蘇州夜曲」更風靡了無數歌迷!
      戰後恢復「山口淑子」身份的李香蘭不但到美國發展,還跟同樣有著亞洲血統的「光頭皇帝」尤勃.連納成為好友;也曾跟四○年代的美國性格小生詹姆士.狄恩一起談論電影與人生的種種;更曾為一代默劇大師卓別林的家庭好友,並成為他前往日本時幫忙翻譯與導遊的最佳人選。
    作者簡介
    山口淑子
    現年88歲,1920年生於中國。
      1933年因認李際春為義父取名李香蘭,並於1937年以李香蘭為名,在電台演唱中國歌曲而風靡大眾。
      二次世界大戰日本戰敗後返回日本,於1947恢復本名山口淑子,並活躍於演藝圈,且曾赴美發展。曾有兩段婚姻, 1959年與日本外交官大鷹弘再婚後,才終止數十年來動盪不安的演藝生涯。之後還曾投身政壇,並在1974年當選日本參議院議員,連任三屆。

    『「李香蘭」を生きて 私の履歴書』、東京: 日本経済新聞社、2004.

    此書有漢譯:《此生名為李香蘭》上海: 上海文化,2012
    妙的是 、本書的《後記》末行為: 「何日君再來」.......
    要而不繁 、 6萬多字就寫出精彩的一生、佩服.....

     . 事實上. 我曾跟他討論過『「李香蘭」を生きて 私の履歴書』----雖然作者說書中都是實情. 可是Kawase先生(川瀬先生 (台灣百年電影史專家))對她如何擺脫漢奸之死刑的說法存疑----不過他沒証據反證......


      《此生名為李香蘭》一書,是李香蘭在《日本經濟新聞(早刊)》上連載的專欄文章結集,也是這位傳奇女性的自傳(非合著)首次在中國出版。我偶然間 被身披“戰爭時代”這件外衣的命運所操縱,人生中的每條道路都由不得自己選擇。待到察覺時,我已被夾在相互爭鬩的母國中國和祖國日本中間,拼鬥的火花濺滿 全身。…… 若將歷史視作個體人生的總和,那麼本書或許便可稱為我眼中的昭和歷史的一個側面。

    Image may be NSFW.
    Clik here to view.
    作者簡介:李 香蘭(1920 年2 月12 日-),本名山口淑子,生於中國奉天(今瀋陽)近郊的北煙台,祖籍日本佐賀縣,是二十世紀三四十年代中國著名歌手和電影演員,代表作《夜來香》曾被傳唱大 江南北。1906 年其父遠渡重洋來到中國。1933 年被李際春收為義女,改名為李香蘭。日本戰敗後,李香蘭被控“漢奸罪”判死刑,因戶口簿證明其日本人身份,被無罪釋放,於次年四月回到日本。在日本繼續其 演藝事業,並於1950 年應邀前往好萊塢和紐約學習舞台演技,與卓別林成為朋友。1974 年參加參議院競選,此後一直活躍於政界,並多次訪華,為改善中日關係而奔走。《此生名為李香蘭》一書,是李香蘭在《日本經濟新聞(早刊)》上連載的專欄文 章結集,也是這位傳奇女性的自傳(非合著)首次在中國出版。

    Image may be NSFW.
    Clik here to view.
    圖書目錄:第一章“李香蘭”誕生
     加米拉
     最初的記憶
     柳芭
     初為歌手
     前往北京
     男裝公主
     女演員誕生
    第二章“五族協和”的女主角
     初見祖國
     大陸三部曲
     日劇七圈半事件
     還想保護你
     甘粕董事長和川喜多先生
     《萬世流芳》
     自豪與良心
     《我的夜鶯》
     夜來香幻想曲
     昭和二十年八月九日
    第三章再見,中國
     戰敗
     間諜嫌疑
     戶籍抄本
     獄中寫信
     命運
    第四章戰後、柳芭
     人人需要“李香蘭”
     田村上等兵
     未問世的影片——《黃河》
     好萊塢
     結婚
     離婚
     退出影壇
     重返母國
     投身政治
     啊!柳芭!
     後記
     川島芳子(金璧輝)審判記錄(選粹)
     李香蘭(山口淑子)
     電影作品年表(1938年-1958年)
     李香蘭(山口淑子)音樂唱片目錄
     李香蘭(山口淑子)簡略年譜
     編後記



    李香蘭(1920年2月12日),出生名山口淑子やまぐち よしこ),第二次結婚後戶籍名大鷹淑子おおたか よしこ)(舊姓:山口),日本人。生於中國奉天省撫順市(即今中國遼寧省撫順市),祖籍日本佐賀縣杵島郡北方村(現已併入武雄市),是從事電影的演員歌手,李香蘭是抒情女高音,而且受過正式的西洋聲樂教育,很擅長美聲唱法。後任日本參議院參議員



    *****網友閑閑提供的資訊 :

    • 閑閑昨 晚和彼得.海先生聊天,他讓我代看剛到手的中譯本,書裏有提到李香蘭,問他說:「李香蘭是間諜吧?」他說:「應該不是……」。他要求我,代看中文譯得如 何,他原文是用日文寫的,後來才出英譯本,這下又有中譯本,雖然印量甚少,只有一千五百本。他完全不會中文,但他預估說這譯文大抵還算精確,但一定譯得很 拘泥、很學術化,他說:「我寫這書的對象是普通讀者」。我說:「即使日本學者不屑,但還是得參考你這本老外著作,你這可是該領域的開山大作啊~」,他說: 「我和佐藤忠男一向不對盤,不知為何會替我寫序?」我說:「大概是大陸方的中國電影出版社想出來的吧?」他說:「看看佐藤忠男的推薦序,只有一兩行才提一 下我的書!整篇都是他的自己看法!啍!!」軼事一椿,聊博鍾院長一粲。中譯本連結謹供參考:

      http://book.douban.com/subject/10582332/
       閑閑Peter B. High的英譯本,光在亞馬遜就賣了1,217,780本,雖然是賣了十年,但他可是我首位認識的暢銷書老外作家咧~連結謹供參考~

      http://goo.gl/SsGJr6
      Image may be NSFW.
      Clik here to view.

      www.amazon.com
    books.google.com/books/about/The_Impe...
    Peter B. High's treatment of the Japanese film world as a microcosm of the entire sphere of Japanese wartime culture demonstrates what happens when conscientious artists and intellectuals become enmeshed in a totalitarian regime.


    The Gardener's Garden;花園:談人之為人 Gardens: An Essay on the Human Condition by Robert Pogue Harrison / A Philosophy of Gardens 花園的哲理

    'Avant gardens': When art, design and a whole load of plants collide

    By Jake Wallis Simons, for CNN
    October 27, 2014 -- Updated 1230 GMT (2030 HKT)
    Image may be NSFW.
    Clik here to view.
    The avant garde garden design movement dispenses with traditional conceptions of gardens in favor of a more sculpture-like approach. These "Supertrees", designed by Grant Associates, are found in Gardens by the Bay in Singapore. The Supertrees, conceived to be like mature trees "without the wait", are the height of a tall building and support a living "skin" of plants.
    The avant garde garden design movement dispenses with traditional conceptions of gardens in favor of a more sculpture-like approach. These "Supertrees", designed by Grant Associates, are found in Gardens by the Bay in Singapore. The Supertrees, conceived to be like mature trees "without the wait", are the height of a tall building and support a living "skin" of plants.
    HIDE CAPTION
    The world's most avant garde gardens
    <<
    <
    1
    2
    3
    4
    5
    6
    7
    8
    9
    10
    11
    >
    >>
    STORY HIGHLIGHTS
    • The Gardener's Garden showcases some of the most beautiful gardens from around the world
    • A new generation of gardeners are creating experimental spaces
    • Modern avant garde designers are considering climate change and water conservation
    (CNN) -- When is a garden not a garden? When it's an avant garden.
    Designers of the past -- who were concerned with verdant lawns, traditional flowerbeds and tasteful ornaments -- would barely recognize the experimental gardens of today.
    "Garden design has always been quite a traditional discipline, says Madison Cox, a garden designer and part of the team behind a new book, The Gardener's Garden.
    "Gardens are in a constant state of flux, and you can only do what the plants allow you to do. So it changes less rapidly than painting, sculpture or architecture, as it takes longer to experiment."
    Plant vocabulary
    There have been other restrictions, too. In the past, garden design was limited by the plants available, as it was difficult to access plants that did not grow indigenously.
    But now, says Cox, the "plant vocabulary" has increased.
    "Go to any garden center in England, Italy, America or elsewhere, and you'll find plants from all over the world," he says.
    This -- together with the influence of radical breakthroughs in the disciplines of painting, sculpture and music -- has allowed a new generation of gardeners to create spaces that owed more to the imagination than tradition.
    The birth of a new experimental art form
    It started with experiments like Lotusland, an extravagant garden in Santa Barbara, California that was created in the latter half of the 20th Century by Madame Ganna Walska, an eccentric opera singer. It contains exotic plants from all over the world, set in fantasy contexts.
    "It's completely mad," says Cox. "The section called the Blue Garden, for instance, has many blue plants and blue-colored slag from a Coca-Cola bottling plant on the ground. The effect is this weird, underwater, blue light, that is at the same time eerie and soothing."
    Garden design has always been quite a traditional discipline
    Madison Cox
    Similarly, Marjorelle -- a public garden in Marrakech, Morocco, that attracts about 730,000 visitors a year -- showcases plants that are almost completely devoid of vivid color, and resembles a world of grays, light greens and pale blues.
    "The only color comes from things that are not natural, like painted surfaces and pottery," says Cox.
    Taking design to the next level
    In Kent, England, the garden that belonged to movie director Derek Jarman eschews grass and traditional trees to embrace flotsam, weeds and found objects, creating a space that is in many ways closer to a movie set than a garden.
    Modern experimental designers have been taking things to another level. The Red Sand Garden in the Royal Botanic Gardens in Melbourne, Australia, resembles a martian landscape, complete with rock circles, curving escarpments and striking forms and foliage.
    However, modern avant garde designers are not completely free from all constraints. "In today's world, we have other pressing environmental issues, such as water conservation," says Cox. "Designers need to consider what is appropriate to the specific climatic conditions they are working in. This is of vital importance."
    Image may be NSFW.
    Clik here to view.
    The Gardener\'s Garden is available now from Phaidon
    The Gardener's Garden is available now from Phaidon
    The heart of any garden
    Ultimately, he says, a garden is a garden if it represents a retreat from the world.
    "In recent years there has been an explosion of creativity," he says, "but we have never lost that sense that garden is a paradise, a retreat from the world, and an alternative to our normal surroundings and chaotic lives.
    "That has always been the point of a garden, and that will never change."
    -----

     Gardens: An Essay on the Human Condition by Robert Pogue Harrison 蘇薇星譯   北京三聯   2011    花園:談人之為人    不簡單的作者與譯者


     人之為人,為什麼與花園息息相關?花園能否告訴我們為何“死亡是美的母親”,如詩人史蒂文斯所言?為什麼說我們其實生活在一個沒有花園的時代?為什麼說我 們正竭力創建一座史無前例的碩大伊甸園,與此同時卻將大地迅速變為荒原?《花園——談人之為人》作者羅伯特‧波格‧哈里森以其詩性的哲思引導讀者尋訪神話 傳說、宗教聖典、文學作品以及現實生活中的一座座花園,諸如荷馬史詩中的仙島樂園、伊壁鳩魯的弟子們深耕細作的菜園、《十日談》里的男女青年講故事的鄉村 花園、《瘋狂的羅蘭》中的幻景花園、樸質極簡的禪寺石庭、工致安詳的伊斯蘭園林、令園丁“走火入魔 ”、整日撥泥弄土的平凡的家庭小花園,還有無家可歸者在紐約街頭組建的臨時花園……《花園——談人之為人》邀請我們漫步這座座花園,體悟花園與園藝的內 蘊,由此在我們的心田和大地上重新開始耕種伏爾泰所說的“我們的花園”。


    致謝
    第一章 憂思乃天職
    第二章 夏娃
    第三章 人——奉獻于土地的園丁
    第四章 無家而園
    第五章 “我自己的花園”
    第六章 柏拉圖的學園
    第七章 伊壁鳩魯的花園學校
    第八章 薄伽丘的花園故事
    第九章 隱修之園、共和之園與王公之園
    第十章 凡爾賽宮園林短評
    第十一章 觀看——一門失落的藝術
    第十二章 奇跡般的諧和
    第十三章 兩種天堂︰伊斯蘭教與基督教之比較
    第十四章 人,而不是破壞之徒
    第十五章 時代的悖論

    附錄
    一 《十日談》選摘喬瓦尼‧薄伽丘
    二 《帕洛馬爾》選摘伊塔洛‧卡爾維諾
    三 花園安德魯馬韋爾
    四 伊斯蘭地毯花園簡介
    注釋
    文獻目錄
    索引
    譯後記

    人類生來就無法凝視歷史的面龐,這一美杜莎之首遍布著瘋狂、死亡和無盡的苦難。這可不是我們的缺陷;恰恰相反,正因為不願听任歷史現實一展美杜莎的魔法, 將我們變成石塊,我們才有了得以承受人生的這一切︰我們的宗教熱忱、詩意想象、對理想之邦的夢幻;我們的道義追求、玄思冥想、對現實的審美幻化;我們對故 事的迷戀、對游戲競技的熱衷、徜徉大自然的歡欣。阿爾貝.加繆曾回憶道︰“苦難讓我無法相信陽光普照下、漫漫歷史中一切都那麼美好,陽光卻教我懂得歷史並 非一切。”(加繆,Lyrical and Critical Essays,第7頁)不妨補充一句,倘若歷史意味著一切,那我們只能癲狂而終。

    在加繆看來,是陽光帶來了慰藉,而更普遍地說,在西方文化傳統中,供人躲避歷史的喧囂與狂躁的庇護聖所,當屬花園——無論實在的還是虛構的花園。本書的讀 者會發現,這一座座花園可能與我們相距迢遙,比如吉爾伽美什一度涉足的神仙之園,希臘傳說中的極樂之島,但丁筆下煉獄山巔的伊甸園;或許,這些園林就坐落 在凡俗城邦的邊緣,譬如柏拉圖的學園,伊壁鳩魯的花園學校,薄伽丘《十日談》里的別墅花園;也許,這些園圃竟展現于都會鬧市,一如巴黎的盧森堡公園,羅馬 的博爾蓋塞別墅園林,還有散布紐約街頭的“無家之園”。殊途同歸︰不論作為一種構想,還是作為由人所創的環境,花園即便不是天堂,也是一種理想的憩園。

    盡管如此,由人所創的花園不論多麼封閉自足,也始終立足于歷史,哪怕只為抗拒驅動歷史的種種侵蝕生命的力量。伏爾泰,在《老實人》的結尾處寫道︰“我們應 當耕種我們的花園”(n faut cultiver notre jardin),要理解這句名言中花園的涵義,就不能將它孤立于小說背景中連綿不斷的戰亂、瘟疫和災荒。此處對“耕種”的強調至關重要。正因為我們生來就 被拋入歷史,才須耕種我們的花園。不朽的伊甸園無需栽培養育,它為上蒼所賜,本已盡善盡美。在我們眼中,人間座座花園仿佛在伊甸園後的世界里開啟了一扇扇 通往天堂的門戶,然而,這些園圃必須由我們自己來創建、維護和關照;這一事實足以證明,它們起源于人類失去樂園之後。沒有花園的歷史是一片不毛之地。脫離 了歷史的花園必然淪為多余。

    曾給我們所在的這座凡生的伊甸園增色添彩的處處園林,最有力地體現了人類棲居大地的理由。每當歷史一展其破壞與毀滅之能,與之對抗是我們惟一的選擇,為的 是維持我們健全的神志,且不談健全的人性。我們不得不尋求治愈創傷、救贖生命的種種力量,讓它們在我們心中、在我們中間生長。“耕種我們的花園”意義就在 于此。伏爾泰的選詞——“我們的”——指向我們同屬共享的世界,這個紛繁世界借助人類的行動方才氣象萬千。“我們的花園”絕非一方逃避真實、純屬個人的私 密空間;“我們的花園”是大地上、內心深處或社群集體之中的那一塊土壤,在那里,救贖現實、使它不致自毀的文化精髓、倫理美德、公民道德正得到培養。這些 德性始終是我們的。

    漫步此書,讀者將會穿行于多種不同的花園——有的來自歷史,有的立足現實生活,有的屬于神話傳說或文學創意——但本書探討的每一處園林多多少少都是“我們 的花園”這一故事的一個篇章。假如歷史終究在于破壞和培養這兩種力量之間驚人的、不間斷的、無止境的抗衡,那麼本書行將加入後者的奮爭。為此,它力求分擔 園丁的天職——憂思。


     Copyright notice: Excerpt from pages 1–13 of Gardens: An Essay on the Human Condition by Robert Pogue Harrison, published by the University of Chicago Press. ©2008 by The University of Chicago. 




    Image may be NSFW.
    Clik here to view.

    An excerpt from

    Gardens

    An Essay on the Human Condition

    Robert Pogue Harrison


    The Vocation of Care
    For millennia and throughout world cultures, our predecessors conceived of human happiness in its perfected state as a garden existence. It is impossible to say whether the first earthly paradises of the cultural imagination drew their inspiration from real, humanly cultivated gardens or whether they in fact inspired, at least in part, the art of gardening in its earliest aesthetic flourishes. Certainly there was no empirical precedent for the mineral “garden of the gods” in the Epic of Gilgamesh, described in these terms: “All round Gilgamesh stood bushes bearing gems… there was fruit of carnelian with the vine hanging from it, beautiful to look at; lapis lazuli leaves hung thick with fruit, sweet to see. For thorns and thistles there were haematite and rare stones, agate, and pearls from out of the sea” (The Epic of Gilgamesh, 100). In this oldest of literary works to have come down to us, there is not one but two fantastic gardens. Dilmun, or “the garden of the sun,” lies beyond the great mountains and bodies of water that surround the world of mortals. Here Utnapishtim enjoys the fruits of his exceptional existence. To him alone among humans have the gods granted everlasting life, and with it repose, peace, and harmony with nature. Gilgamesh succeeds in reaching that garden after a trying and desperate journey, only to be forced to return to the tragedies and cares of Uruk, his earthly city, for immortality is denied him.
    More precisely, immortal life is denied him. For immortality comes in several forms—fame, foundational acts, the enduring memorials of art and scripture—while unending life is the fabulous privilege of only a select few. Among the Greeks, Meneleus was granted this special exemption from death, with direct transport to the gardens of Elysium at the far end of the earth,
    where there is made the easiest life for mortals,
    for there is no snow, nor much winter there, nor is there ever
    rain, but always the stream of the Ocean sends up breezes
    of the West Wind blowing briskly for the refreshment of mortals. This, because Helen is yours and you [Meneleus] are son in law therefore to Zeus.
    —(Odyssey, 4.565û69)
    For all her unmatched beauty, it seems that this was what the great fuss over Helen was really all about: whoever possessed her was destined for the Isles of the Blest rather than the gloom of Hades. Men have gone to war for less compelling reasons.
    By comparison to the ghostly condition of the shades in Hades, a full-bodied existence in Elysium is enviable, to be sure, if only because happiness outside of the body is very difficult for human beings to imagine and impossible for them to desire. (One can desire deliverance from the body, and desire it ardently, but that is another matter.) Even the beatified souls in Dante’s Paradise anticipate with surplus of joy the resurrection of their flesh at the end of time. Their bliss is in fact imperfect until they recover in time what time has robbed them of: the bodily matter with which their personal identity and appearance were bound up. Until the restitution of their bodies at the end of time, the blessed in Dante’s heaven cannot properly recognize one another, which they long to do with their loved ones (in Paradiso 14 [61û66], Dante writes of two groups of saints he meets: “So ready and eager to cry ‘Amen’ / did one chorus and the other seem to me / that clearly they showed their desire for their dead bodies, / not just for themselves but for their mothers, / and fathers, and the others who were dear to them / before they became sempiternal flames”). In that respect all of us on Earth, insofar as we are in our body, are more blessed than the saints in Dante’s heaven. It is otherwise with the likes of Meneleus and Utnapishtim and Adam and Eve before the fall. The fantastic garden worlds of myth are places where the elect can possess the gift of their bodies without paying the price for the body’s passions, can enjoy the fruits of the earth without being touched by the death and disease that afflicts all things earthly, can soak up the sunlight so sorely missed by their colleagues in Hades without being scorched by its excess and intensity. For a very long time, this endless prolongation of bodily life in a gardenlike environment, protected from the tribulations of pain and mortality, was the ultimate image of the good life.
    Or was it? Certainly Meneleus is in no hurry to sail off to his islands in the stream. Telemachus finds him still reigning over his kingdom, a man among men. There is no doubt that Meneleus would opt for Elysium over Hades—any of us would—but would he gladly give up his worldly life prematurely for that garden existence? It seems not. Why? Because earthly paradises like Dilmun and Elysium offer ease and perpetual spring at the cost of an absolute isolation from the world of mortals—isolation from friends, family, city, and the ongoing story of human action and endeavor. Exile from both the private and public spheres of human interaction is a sorry condition, especially for a polis-loving people like the Greeks. It deprives one of both the cares and the consolations of mortal life, to which most of us are more attached than we may ever suspect. To go on living in such isolated gardens, human beings must either denature themselves like Utnapishtim, who is no longer fully human after so many centuries with no human companionship other than his wife, or else succumb to the melancholia that afflicts the inhabitants of Dante’s Elysian Fields in Limbo, where, as Virgil tells the pilgrim, sanza speme vivemo in disio, we live in desire without hope. As Thoreau puts it in Walden,“Be it life or death, we crave only reality” (61). If Meneleus took that craving for reality with him to Elysium, his everlasting life there is a mixed blessing indeed.
    But why are we posing hypothetical questions to Meneleus when we can consult Odysseus directly? Kalypso’s island, where Odysseus was marooned for several years, is in every respect a kind of Isle of the Blest in the far-flung reaches of the ocean: a flourishing green environment with fountains, vines, violets, and birds. Here is how Homer describes the scene, which is prototypical of many subsequent such idyllic scenes in Western literature:
    She was singing inside the cave with a sweet voice
    as she went up and down the loom and wove with a golden shuttle.
    There was a growth of grove around the cavern, flourishing,
    alder was there, and the black poplar, and fragrant cypress,
    and there were birds with spreading wings who made their nests in it,
    little owls, and hawks, and birds of the sea with long beaks
    who are like ravens, but all their work is on the sea water;
    and right about the hollow cavern extended a flourishing
    growth of vine that ripened with grape clusters. Next to it
    there were four fountains, and each of them ran shining water,
    each next to each, but turned to run in sundry directions;
    and round about there were meadows growing soft with parsley
    and violets, and even a god who came into that place
    would have admired what he saw, his heart delighted within him.
    —(5.63û74)
    This is the enchanted place that Kalpyso invites Odysseus to share with her permanently, with an offer of immortality included in the bargain. But we know the story: cold to her offer, Odysseus spends all his days on the desolate seashore with his back to the earthly paradise, sulking, weeping, yearning for his homecoming to harsh and craggy Ithaca and his aging wife. Nothing can console him for his exile from “the land of his fathers” with its travails and responsibilities. Kalypso is incapable of stilling within his breast his desire to repossess the coordinates of his human identity, of which he is stripped on her garden island. Even the certainty that death awaits him after a few decades of life on Ithaca cannot persuade him to give up his desire to return to that very different, much more austere island.
    What Odysseus longs for on Kalypso’s island—what keeps him in a state of exile there—is a life of care. More precisely, he longs for the world in which human care finds its fulfillment; in his case, that is the world of family, homeland, and genealogy. Care, which is bound to worldliness, does not know what to do with itself in a worldless garden in the middle of the ocean. It is the alienated core of care in his human heart that sends Odysseus to the shore every morning and keeps him out of place in the unreal environment of Kalypso’s island. “If you only knew in your own heart how many hardships / you were fated to undergo before getting back to your country, / you would stay here with me and be lord of this household and be an immortal” (5.206û9). But Kalypso is a goddess—a “shining goddess” at that—and she scarcely can understand the extent to which Odysseus, insofar as he is human, is held fast by care, despite or perhaps even because of the burdens that care imposes on him.
    If Homer’s Odysseus remains to this day an archetype of the mortal human, it is because of the way he is embraced by care in all its unyielding tenacity. An ancient parable has come down to us across the ages which speaks eloquently of the powerful hold that the goddess Cura has on human nature:
    Once when Care was crossing a river, she saw some clay; she thoughtfully took up a piece and began to shape it. While she was meditating on what she had made, Jupiter came by. Care asked him to give it spirit, and this he gladly granted. But when she wanted her name to be bestowed upon it, he forbade this, and demanded that it be given his name instead. While Care and Jupiter were disputing, Earth arose and desired that her own name be conferred on the creature, since she had furnished it with part of her body. They asked Saturn to be their arbiter, and he made the following decision, which seemed a just one: “Since you, Jupiter, have given its spirit, you shall receive that spirit at its death; and since you, Earth, have given its body, you shall receive its body. But since Care first shaped this creature, she shall possess it as long as it lives. And because there is now a dispute among you as to its name, let it be called homo, for it is made out of humus (earth).”
    Until such time as Jupiter receives its spirit and Earth its body, the ensouled matter of homo belongs to Cura, who “holds” him for as long as he lives (Cura teneat, quamdiu vixerit). If Odysseus is a poetic character for Care’s hold on humans, we can understand why he cannot lie easily in Kalypso’s arms. Another less joyful goddess than Kalypso already has her claims on him, calling him back to a land plowed, cultivated, and cared for by his fathers and forefathers. Given that Cura formed homo out of humus, it is only “natural” that her creature should direct his care primarily toward the earth from which his living substance derives. Thus it is above all the land of his fathers—as Homer repeats on several occasions—that calls Odysseus back to Ithaca. We must understand the concept of land not merely geographically but materially, as the soil cultivated by his ancestors and the earth in which their dead bodies are buried.
    Had Odysseus been forced to remain on Kalypso’s island for the rest of his endless days, and had he not lost his humanity in the process, he most likely would have taken to gardening, no matter how redundant such an activity might have been in that environment. For human beings like Odysseus, who are held fast by care, have an irrepressible need to devote themselves to something. A garden that comes into being through one’s own labor and tending efforts is very different from the fantastical gardens where things preexist spontaneously, offering themselves gratuitously for enjoyment. And if we could have seen Odysseus’s patch of cultivated ground from the air, it would have appeared to us as a kind of oasis—an oasis of care—in the landscape of Kalypso’s home world. For unlike earthly paradises, human-made gardens that are brought into and maintained in being by cultivation retain a signature of the human agency to which they owe their existence. Call it the mark of Cura.
    While care is a constant, interminable condition for human beings, specific human cares represent dilemmas or intrigues that are resolved in due time, the way the plots of stories are resolved in due time. Odysseus experiences the endless delays that keep him from returning home as so much wasted time—for it is only with his return home that the temporal process of resolution can resume its proper course. His story cannot go forward in Kalypso’s earthly paradise, for the latter is outside both world and time. Thus it represents a suspension of the action by which his present cares—which revolve around reclaiming his kingdom and household—work toward an outcome. No resolution is final, of course, and even death does not put an end to certain cares (as Odysseus learns when he talks to the shades of his dead companions in the land of the dead). Yet in general human beings experience time as the working out of one care after another.
    Here too we find a correlation between care and gardens. A humanly created garden comes into being in and through time. It is planned by the gardener in advance, then it is seeded or cultivated accordingly, and in due time it yields its fruits or intended gratifications. Meanwhile the gardener is beset by new cares day in and day out. For like a story, a garden has its own developing plot, as it were, whose intrigues keep the caretaker under more or less constant pressure. The true gardener is always “the constant gardener.”
    The account of the creation of humankind in the Cura fable has certain affinities with, but also marked differences from, the account in Genesis, where the Maker of heaven and earth created a naive, slow-witted Adam and put him in the Garden of Eden, presumably so that Adam could “keep” the garden, but more likely (judging from the evidence) to shield him from the reality of the world, as parents are sometimes wont to do with their children. If he had wanted to make Adam and Eve keepers of the garden, God should have created them as caretakers; instead he created them as beneficiaries, deprived of the commitment that drives a gardener to keep his or her garden. It would seem that it was precisely this overprotection on God’s part that caused Adam and Eve to find themselves completely defenseless when it came to the serpent’s blandishments. Despite God’s best intentions, it was a failure of foresight on his part (a failure of gardening, as it were) to think that Adam and Eve could become caretakers of Eden’s privileged environment when he, God, went to such lengths to make sure that his creatures had not a care in the world.
    Indeed, with what insouciance Adam and Eve performed the momentous act that gets them expelled from Eden! “And when the woman saw that the tree was good for food, and that it was pleasant to the eyes, and a tree to be desired to make one wise, she took of the fruit thereof, and did eat, and gave also unto her husband with her; and he did eat” (Genesis 3:6). It was not overbearing pride, nor irrepressible curiosity, nor rebellion against God, nor even the heady thrill of transgression which caused them to lose, in one mindless instant, their innocence. The act was committed without fear and trembling, without the dramas of temptation or fascination of the forbidden, in fact without any real motivation at all. It was out of sheer carelessness that they did it. And how could it have been otherwise, given that God had given them no occasion to acquire a sense of responsibility? The problem with Adam and Eve in the garden was not so much their will to disobedience as their casual, thoughtless, and childlike disposition. It was a disposition without resistance, as the serpent quickly discovered upon his first attempt to get Eve to eat the forbidden fruit.
    It was only after the fall that Adam acquired a measure of resiliency and character. In Eden, Adam was unburdened by worries but incapable of devotion. Everything was there for him (including his wife). After his exile, he was there for all things, for it was only by dedicating himself that he could render humanly inhabitable an environment that did not exist for his pleasure and that exacted from him his daily labor. Out of this extension of self into the world was born the love of something other than oneself (hence was born human culture as such). For all that it cost future humankind, the felix culpa of our mythic progenitors accomplished at least this much: it made life matter. For humans are fully human only when things matter. Nothing was at stake for Adam and Eve in the garden until suddenly, in one decisive moment of self-revelation, everything was at stake. Such were the garden’s impossible alternatives: live in moral oblivion within its limits or gain a sense of reality at the cost of being thrown out.
    But did we not pay a terrible price—toil, pain and death—for our humanization? That is exactly the wrong question to ask. The question rather is whether the gift of the Garden of Eden—for Eden was a gift—was wasted on us prior to the price we paid through our expulsion. As Yeats said of hearts: “Hearts are not had as gifts but hearts are earned / by those that are not entirely beautiful” (“Prayer for My Daughter,” in The Collected Poems of W. B. Yeats, 188). In Eden, Adam and Eve were altogether too beautiful, hence also heartless. They had to earn their human hearts outside of the garden, if only in order to learn what beauty is, as well as what a gift it is. Through Adam and Eve we lost a gift but earned a heart, and in many ways we are still earning our heart, just as we are still learning that most of what the earth offers—despite its claims on our labor—has the character of something freely given rather than aggressively acquired.
    Eden was a paradise for contemplation, but before Adam and Eve could know the quiet ecstasy of contemplation, they had to be thrown into the thick of the vita activa. The vita activa, if we adopt Hannah Arendt’s concept of it, consists of labor, work, and action. Labor is the endless and inglorious toil by which we secure our biological survival, symbolized by the sweat of Adam’s brow as he renders the earth fruitful, contending against blight, drought, and disaster. But biological survival alone does not make us human. What distinguishes us in our humanity is the fact that we inhabit relatively permanent worlds that precede our birth and outlast our death, binding the generations together in a historical continuum. These worlds, with their transgenerational things, houses, cities, institutions, and artworks, are brought into being by work. While labor secures our survival, work builds the worlds that make us historical. The historical world, in turn, serves as the stage for human action, the deeds and speech through which human beings realize their potential for freedom and affirm their dignity in the radiance of the public sphere. Without action, human work is meaningless and labor is fruitless. Action is the self-affirmation of the human before the witness of the gods and the judgment of one’s fellow humans.
    Whether one subscribes to Arendt’s threefold schematization or not, it is clear that a life of action, pervaded through and through by care, is what has always rendered human life meaningful. Only in the context of such meaningfulness could the experience of life acquire a depth and density denied to our primal ancestors in the garden. To put it differently: only our expulsion from Eden, and the fall into the vita activa that ensued from it, could make us fit for and worthy of the gift of life, to say nothing of the gift of Eden. Adam and Eve were not ready—they lacked the maturity—to become keepers of the garden. To become keepers they first would have to become gardeners. It was only by leaving the Garden of Eden behind that they could realize their potential to become cultivators and givers, instead of mere consumers and receivers.
    Regarding that potential, we must not forget that Adam, like homo in the Cura fable, was made out of clay, out of earth, out of humus. It’s doubtful whether any creature made of such matter could ever, in his deeper nature, be at home in a garden where everything is provided. Someone of Adam’s constitution cannot help but hear in the earth a call to self-realization through the activation of care. His need to engage the earth, to make it his place of habitation, if only by submitting himself to its laws—this need would explain why Adam’s sojourn in Eden was at bottom a form of exile and why the expulsion was a form of repatriation.
    Once Jupiter breathed spirit into the matter out of which homo was composed, it became a living human substance that was as spiritual in essence as it was material. In its humic unity it lent itself to cultivation, or more precisely to self-cultivation. That is why the human spirit, like the earth that gives homo his body, is a garden of sorts—not an Edenic garden handed over to us for our delectation but one that owes its fruits to the provisions of human care and solicitation. That is also why human culture in its manifold domestic, institutional, and poetic expressions owes its flowering to the seed of a fallen Adam. Immortal life with Kalypso or in Elysium or in the garden of the sun has its distinct appeal, to be sure, yet human beings hold nothing more dear than what they bring into being, or maintain in being, through their own cultivating efforts. This despite the fact that many among us still consider our expulsion from Eden a curse rather than a blessing.
    When Dante reaches the Garden of Eden at the top of the mountain of Purgatory, he brings his full humanity with him into that recovered earthly paradise, having gained entrance to it by way of a laborious moral self-discipline that took him down through the circles of hell and up the reformatory terraces of Purgatory. Nor does his journey reach its endpoint in Eden, for it continues up through the celestial spheres toward some other more exalted garden: the great celestial rose of the heavenly Empyrium. Yet never once during his journey does the poet-pilgrim lose or forfeit the human care in his heart. Even in the upper reaches of Paradise, the fate of human history—what human beings make of it through their own devotion or dereliction—remains his paramount concern. In particular it is the fate of Italy, which Dante calls the “garden of the empire,” which dominates the poet’s concern throughout the poem. To speak of Italy as a garden that is being laid to waste through neglect and moral turpitude takes the garden out of Eden and puts it back onto a mortal earth, where gardens come into being through the tending of human care and where they are not immune from the ravages of winter, disease, decay, and death. If Dante is a quintessentially human poet, it is because the giardino dello ’mperio mattered more to him in the end than either Eden or the celestial Rose. If we are not able to keep our garden, if we are not able to take care of our mortal human world, heaven and salvation are vain.
    To affirm that the fall was a repatriation and a blessing is not to deny that there is an element of curse in the human condition. Care burdens us with many indignities. The tragedies that befall us (or that we inflict upon ourselves) are undeniably beyond all natural proportion. We have a seemingly infinite capacity for misery. Yet if the human race is cursed, it is not so much because we have been thrown into suffering and mortality, nor because we have a deeper capacity for suffering than other creatures, but rather because we take suffering and mortality to be confirmations of the curse rather than the preconditions of human self-realization. At the same time, we have a tendency to associate this putative curse with the earth, to see the earth as the matrix of pain, death, corruption, and tragedy rather than the matrix of life, growth, appearance, and form. It is no doubt a curse that we do not properly value what has been freely given as long as we are its daily beneficiaries.
    Achilles, who had a warrior’s contempt for life while he lived, must die and enter Hades before coming to realize that a slave living under the sun is more blessed than any lord of the dead. When Odysseus attempts to console him during his visit to the underworld, Achilles will have none of it: “O shining Odysseus,” he says, “never try to console me for dying. / I would rather follow the plow as thrall to another / man, one with no land allotted him and not much to live on, / than be a king over all the perished dead” (11.488û91). The slave is happier than the shade not because he is laboring under the sun but because he is under the sun, that is to say on the earth. To the dead Achilles, the former seems like a small price to pay for the latter (“I am no longer there under the light of the sun,” he declares regretfully [498]). That such knowledge almost invariably comes too late is part of care’s curse. Care engages and commits us, yet it also has a way of blinding us. Achilles’ eyes are open for a moment, but even in death they close quickly again when his passions are enflamed. In no time at all, while speaking to Odysseus, he imagines himself back in the world of the living not as a slave but as his former formidable and destructive self, killing his enemies and perpetuating the cycle of reciprocal violence: “[I] am not the man I used to be once, when in wide Troad / I killed the best of their people, fighting for the Argives. If only / for a little while I could come like that to the house of my father, / my force and invincible hands would terrify such men / as use force on him and keep him away from his rightful honors” (499û504). That our cares bind us so passionately to our living world, that they are so tenacious as to continue to torment us after death, and that they blind us to the everyday blessings we so sorely miss once we lose them—this suggests that there may be something incorrigible in our nature which no amount of self-cultivation will overcome or transfigure. It is impossible to know for sure, for the story of human care has not yet come to an end.






    以「鳶尾花」(Iris)為名的英國哲學家和小說家莫道格(Iris Murdock),一九九九年辭世前,也是花展常客。她曾說,「一個從沒有花和植物星球來的人,看到我們對花草,充滿如此狂愛的喜悅,一定認為我們瘋了!」【江靜玲】

    花園的哲理


    本書的翻譯也是問題多多
    引用許多作家 不過都不附原文
    譬如說 H. Hesse 中國通譯 "黑塞"而本書為"海塞"接著是"海賽"
    eudaimonic (p.12) 和 eudaimonia (p.186) 後者詳說



    Table of Contents

    1.Taking Gardens Seriously
    2.Art or Nature?
    3.Art-and-Nature
    4.Gardens, People, and Practices
    5.Gardens and the Good Life
    6.The Meaning of Gardens
    7.The Garden as Epiphany
    8.Conclusion: The Garden's Distinction

    A Philosophy of Gardens

    ISBN13: 9780199290345ISBN10: 0199290342Hardback, 184 pages

    Also available:

    Paperback
    Mar 2006, In Stock

    Price:

    $45.00 (06)

    Description

    Why do gardens matter so much and mean so much to people? That is the intriguing question to which David Cooper seeks an answer in this book. Given the enthusiasm for gardens in human civilization ancient and modern, Eastern and Western, it is surprising that the question has been so long neglected by modern philosophy. Now at last there is a philosophy of gardens. David Cooper identifies garden appreciation as a special human phenomenon distinct from both from the appreciation of art and the appreciation of nature. He discusses the contribution of gardening and other garden-related pursuits to "the good life." And he distinguishes the many kinds of meanings that gardens may have, from their representation of nature to their spiritual significance. A Philosophy of Gardens will open up this subject to students and scholars of aesthetics, ethics, and cultural and environmental studies, and to anyone with a reflective interest in things horticultural.

    Reviews

    "Cooper's thoughful and engaging book is indeed A Philosophy of Gardens -- his rather unique and stimulating way of conceptualizing how, carefully reflected upom, gardening practices and appreciation can engender an epiphany of sorts on the mysteries of existence."--Donald Crawford, Notre Dame Philosophical Reviews

    Architecture, Power, and National Identity

    Hanching Chung這, 當然是值班探討的主題。 雖然手頭沒有那本探討建築與National Identity 的書, 不過想想政治建築必與政治文學同樣久遠.....朋友開混凝土的課,我建議他專章討論它與20世紀政治建築....柯比意LE CORBUSIER國葬---日本電視轉播、各大都市的city images 與建築.....

    Image may be NSFW.
    Clik here to view.

    • May 27, 1992
      350 p., 7 x 10
      156 b/w illus.
      ISBN: 9780300049589
      Cloth


    Image may be NSFW.
    Clik here to view.

    Architecture, Power, and National Identity

    • Lawrence J. Vale
          REVIEWS            PREVIEW            CONTENTS            EXCERPTS      

    Out of Print.

    Winner of the Society of Architectural Historians’ 1994 First Annual Spiro Kostof Book Award for Architecture and Urbanism
    Throughout history, architecture, and urban design have been manipulated in the service of politics. Because government buildings serve as symbols of the state, we can learn much about a political regime by observing closely what it builds. In this book, Lawrence J. Vale explores parliamentary complexes in capital cities on six continents, showing how the buildings housing national government institutions are products of the political and cultural balance of power within pluralist societies. By viewing architecture and urban design in the light of political history and cultural production, Vale expands the scope and cogency of design criticism and demonstrates the manipulation of environmental meaning is an important force in urban development.  Vale begins by tracing the evolution of the modern designed capitalfrom Washington, D.C., Canberra, New Delhi, and Ankara, to the post-World War II capitals of Chandigarh and Brasília, to Abuja and Dodoma, planned in the 1970s and still largely unrealized. He then provides close readings of the architecture, urban design, and political history of four smaller parliamentary complexes completed in the the, in Papua New Guinea, Sri Lanka, Kuwait, and Bangladesh. These essays situate the parliamentary designs in teh wider context of postcolonial struggles to build the symbols and institutions of democratic government during periods of rapid political and economic change. In the final chapter of the book, Vale addresses the dilemmas facing designers who undertake to deliver "national identity" as part of their design commission.

    About the author (1992)

    Lawrence J. Vale is Ford Professor of Urban Design and Planning at MIT.

    Bibliographic information


    Reviews

    "An original, thoughtful, and provocative study, full of sophisticated and interesting analyses of major buildings in the Third World. It will make an important contribution to our understanding of the relationship of public buildings to governments and the ideals, aspirations, and realities they attempt to express."—Diane Ghirardo
    "Extraordinarily stimulating, suggestive, and incisive. The main thesis, that 'capitols' are the outcome of a combination of aesthetic motivations, immediate political circumstances, and the cultural composition of the societies they are the capitols for, is extraordinarily effectively documented. An extremely fine book."—Clifford Geertz
    "Challenging . . . a fascinating journey through the architecture and urban design of parliamentary complexes. . . . Vale has made a significant move beyond formalist architectural commentary, injecting a political and social force into design criticism. . . . Architecture, Power and National Identity has many provocative offerings for both the architectural educationist and practising architect."—Darrel Crilley, Times Higher Education Supplement
    "A beautifully produced book, replete with photographs, maps, and fine drawings. It offers a remarkable opportunity to visit and examine post-colonial capitol complexes in Bangladesh, Sri Lanka, Kuwait, and Papua New Guinea as well as designed capital cities, including Chandigarh and Brasilia. Vale's broad background in design and international relations is evident in his analysis, which draws also on recent ethnographic work."—Jane C. Loeffler, Progressive Architecture
    "A scholarly, fresh, timely work. . . . Get the book, read it, wallow in it. Learn as I have from this engrossing survey of capital cities and capitol complexes, from this challenging theoretical and taxonomic exegesis, from these deft case studies. Relax with an author who carries one readily from a broad conceptual framework to a set of focused, analytic enquiries; who moves imperturbably from urban planning to achitectural detail."—Environment and Planning
    "A book that will appeal to a wide range of readers. . . . An impressive, even ambitious, comparative account in which the author's considerable research is matched by the admirable caution of his claims. . . . [It] adds very significantly to our understanding of the social and political production of the built environment."—Anthony King, Journal of Asian Studies
    "[Vale's] book makes fascinating reading for anyone interested in the cultural forces behind architecture and urban design and in the ways that parliamentary and other major government buildings are emblematic of the political history and power elites of their countries. This work represents a valuable expansion of the purview of design criticism by treating the designs of government officials as equal in importance to the physical designs of architects."—Michael Y. Seelig, Canadian Journal of Urban Research
    "It is clear to the reader that this is an excellent and much needed book. . . . Architecture, Power and National Identity is a powerful and compelling work and is a major contribution to the history of urban form."—David Gosling, Town Planning Review








    Sabina Sun對不起,我去了一趟台中市政府,唉呀,真可惜。這個中部的腹地那麼大,應該要好好規劃市政府大樓的建築,把它弄得更有氣勢一點。還有,那個歌劇院設計得不夠好,因為它是公共建築,應該要比較雄偉,因為七期周圍的大樓都是高層大樓,所以不知道為何沒有把歌劇院蓋得很有氣勢,或至少蓋得很科技現代感?! ..... 總之,這座城市的景觀,真的應該要重新規劃,因為她比台北還有潛力變成一個完全展新的城市地景。抱歉,多講幾句,希望你們未來大幹一場,哈哈。
     補充: 二次戰後,美國的國家復甦計畫,其中一個重要的計畫就是,五角大廈和白宮的規劃與設計。以及整個總統府坐落的華盛頓城中心的規劃。而反越戰運動的成果,最後留下來的,就是一個非常劃時代的越戰紀念公園的地景設計。為什麼? 因為這就是一個精神上的認同地景阿,時代的刻痕必須留在地景之中,後代才能對這塊土地有記憶和認同阿。所以說,其實像這類的東西,以後應該要多注意! 互勉之。

    《亞細亞的孤兒》、《無花果》、《台灣連翹》長篇小說 (朱真一)



    朱真一
    臺灣大學醫學院醫科畢業,赴美後先在柏克萊加州大學研究,獲營養學哲學博士,後又繼續小兒科及小兒血液及癌瘤學訓練。1975年起任職聖路易(St. Louis)大學醫學院及Glennon樞機主教兒童醫院小兒科,曾任小兒血液科及繼續教育醫學部主任。2006年8月退休擔任名譽教授。在專業領域之外,特別關懷臺灣的歷史文化,尤其是醫學史、醫學人物故事、教育、人文及客家文化等。曾獲「賴和紀念特別獎」、「客委會客家貢獻獎」、「美國臺灣人生物科學會服務獎」、列名Marquis Who’s Who in America 等殊榮。 除專業著作外,尚有《早期留學歐美的臺灣醫界人士》、《從醫界看早期臺灣與歐美的交流》、《看臺灣文學寫臺美人文學》、《臺灣熱帶醫學人物》等文史著作。
    Image may be NSFW.
    Clik here to view.

    台灣文學重要前輩---吳濁流



    讀書救台灣
    北美客協推動「讀書救台灣」--吳濁流及三本書
    2014-08-12 10:38


    最近因看到「學運戰神」黃昌國教授,演講結束後,回答學生問題:「有什麼事是我們現在最應該優先做的?」黃國昌的回答重點是「大家一定要多讀書,才能充實自己,提高自己的內涵和視野。」另外柯文哲醫師到高雄的演講,也「一再強調咱們要多讀書救台灣。」對此感觸良深,我由衷地敬佩他們。為此寫了兩篇文章〈我們來多讀書吧 ! 〉及〈賴和藏書與「多讀書救台灣」〉。


    很高興,北美台灣客家公共事務協會(北美客協),就在這幾天宣布一活動,好像配合我的文章,實際來推動「讀書救台灣」。我在第一篇文章中書說到,美國的中小學,盡量鼓勵學生廣讀課外書。常舉辦讀課外書的多少,寫讀書報告的好壞的比賽。北美客協就要舉辦「讀台灣客家文學寫報告」的有獎徵文比賽。


    北美客協推動讀吳濁流書


    北美客協「為鼓勵高中、大學學生,閱讀客家文學作品,寫出讀書告與感想」,希望新世代覺醒,知道自己是台灣人,更相信「自己國家自己救」的理由。指定閱讀台灣文學重要的吳濁流前輩的三本書:《無花果》、《台灣連翹》、《亞細亞孤兒》,選其中之一寫讀書報告。可用任何方法的台灣客語文或漢(華)文寫。
    深秋一翦蕾絲情
    *蕾絲金露花(台灣連翹), 馬鞭草科*

    為了獎勵,北美客協還提供六個獎(第1,2,3名及佳作3名),第一、二、三名的獎金各$330、$220、$150 及佳作$100。北美客協將於十一月初在台灣頒獎。北美客協將組團返台,舉辦「台三線座談會」時頒發。 時間以及地點另訂。請看我的《客家新部落格》〈北美客協「讀台灣客家文學寫報告」徵文 〉,寫徵文的規定及送報告等詳細資料。以下報導不是詳細的的吳濁流(1900-1976)的生涯,只稍來討論幾個有關重點,讀他的書尤其這三本書為何很有意義以及「讀書救台灣」。


    二十年公學校及堅持反抗精神


    吳濁流先生本名吳建田,生於今新竹縣新埔鎮,是我母校新埔國小最傑出的的校友,另一位是張七郎。先生前半生,除讀師範時,在客家庄長大或工作。1916年從新埔公學校畢業,考進台灣總督府台北師範學校,那年新埔、關西一條水(鳳山溪),只吳濁流一人考取。曾看他寫的文章,公學校的老師免費為想升學者補習,他的家庭雖有經濟能力,因為讀師範完全免費,沒去考總督府醫學校。我常想,他若讀醫,台灣醫界會增加一傑出好的醫師外,他也會對台灣文學及社會貢獻,不過從下面的討論,貢獻的方向可能會不一樣。


    1920年師範畢業,首先分發到母校新埔公學校的照門分校,因撰文批評日本的教育制度,因此兩年後(1922)被下放到苗栗荒僻的四湖公學校,以後在此附近一帶的學校打轉15年。對台灣的唯一「好處」,1936年因緣際會在這偏僻地方,寫了第一、二篇短篇小說〈水月〉及〈泥沼中的金鯉魚〉,無意間踏進了文學門檻。


    1937年吳濁流才調回家鄉隔鄰的關西公學校,又因抗議日本教育之體罰,得罪當局,兩年後又被調往原住民區的馬武督分校。1940年新竹郡運動會時,因台灣人教師受郡督學的侮辱,吳濁流憤然辭職抗爭,結束20年的教師生涯。這20年他堅持反抗日本當局的無理,一再地受「罰」而不改抗議精神,最後終於不能再容忍,毅然決然地辭職。


    中國、二二八經驗及文學著作


    1941年1月,吳濁流往南京任擔任記者,當時南京為汪精衛政府,可說仍由日本間接控制,不久回台再攜眷去中國,1943年才舉家回台灣。1944年任《台灣日日新報》記者,開始寫長篇小說〈亞細亞的孤兒〉。創作時正當太平洋戰爭期,寫好的稿子怕被日本人看到,必須藏起來,可說冒險地寫作。


    1945年日本投降,吳濁流本很高興不必受日本人欺辱,可是來台接收的軍人與政府大員,無能、腐化及貪污。吳濁流因有兩年的中國經驗,使他對二二八事變,能較深入透徹地瞭解。他滿腹悲憤,寫下一系列短篇小說,可說以文學為歷史見證。後來寫〈無花果〉及〈台灣連翹〉兩部長篇自傳體小說,更寫出歷史真相。對官員的奸詐、邪惡、腐化,以及「半山」的種種惡行,表達台灣人的怨恨。


    二次大戰後,先後任《臺灣新生報》、《民報》記者和大同工業職業學校訓導主任,這《民報》不是戰前的《民報》,請看本刊的拙文〈《臺灣民報》的歷史回顧(2):《臺灣民報》創刊、停刊及復刊〉。民國65年(1976年)因病逝世。


    台灣文學界的大功臣


    民國1964年創辦《臺灣文藝》雜誌,讓台灣文學作家有發表園地,培養了許多作家如陳映真、黃春明、王禎和、王拓、楊青矗等。1969年更以退休金設立吳濁流文學獎,獎勵後進,成為臺灣文壇著名獎項。吳濁流先生是台灣文學界最大功臣之一。張良澤稱吳先生為沿門托缽的文化人,他為了辦台灣文藝與吳濁流文學獎,把全部積蓄及退休金投入外,還要沿門托缽似地找人捐款,看翻版的早期《臺灣文藝》捐款欄中,不少是我們桃竹苗地區的前輩。


    吳先生三十七歲才開始寫作,他的文學創作承先啟後,秉承他之前台灣文學建立的傳統,作品也影響了新生代的台灣作家深遠。創作出版的書及文章,不少是早期警總的禁書。吳濁流的「祖國經驗」文學界最多人討論,北美客協希望台灣人多讀吳濁流的書,那模模糊糊的「中原」,「唐山」、「原鄉」並不是祖國,祖國是落實在台灣本土的祖國。台灣人不管是客家或非客家,戰前或戰後,請多看多想想吳濁流的苦口婆心。


    他的書詳細記述他的客家出身,他去台北師範學校唸書時,他不會說福老話,他有現在可能可稱為「客家結」或「客家台灣意識」。他常以客家庄為背景寫小說,雖然這樣,他的作品引起台灣人的共鳴,不管是福老、客家或戰後台灣人,都可有的共識。上面北美客協用「讀台灣客家文學寫報告」多少有點語病,是客家台灣人寫的「台灣文學」。


    筆者雖與吳先生有同鄉校友之誼,還是先嚴及伯父北師的前輩,可惜在台灣時完全不知吳先生、他的作品以及《台灣文藝》這雜誌。來美多年後從讀他的書才「認識」吳前輩及台灣文學。台灣意識之覺醒是受吳先生著作的影響。台灣人多多研讀吳先生之著作,一定可幫大家揚棄那狹窄的「客家情結」,大福老主義及大中國沙文主義,多讀吳濁流書可救台灣。


    三本書


    他的三篇《亞細亞的孤兒》、《無花果》、《台灣連翹》長篇小說,對台灣的社會、政治及文化等多方評判。戰時執筆的《亞細亞的孤兒》於1945年完稿,以日據時代的台灣知識分子胡太明(本用胡志明,與越南胡志明相同而改),受日本殖民者的欺壓,到日本留學,到中國大陸及回到台灣處處受到歧視。對自己的認同錯亂及許多人生挫折打擊下,最後發瘋而以悲劇收場。此書只寫戰前,因只批評日本殖民未被台灣列為禁書。


    《無花果》是吳濁流第二本長篇,是吳濁流的前半生自傳,從出生於客家庄到戰後初期的經歷。1967完稿後,在1968年時分三期連載於《臺灣文藝》雜誌上,因前兩期寫日本的殖民沒被禁,最後一期寫到二二八事變,據說警總以《臺灣文藝》沒幾個人看,又已結束而被放了一馬。客是1970年要以單行本出版時,就被警總列為禁書查扣,就因為寫二二八事變。我1980年代在美國看到,是我台灣意識的啟蒙書。1988年在台灣才能公開發行。


    《台灣連翹》是吳濁流最後一本長篇小說,用日文寫,稿交給鍾肇政,並交代只能等他去世十年後,才能翻譯出版。書中不少台灣戰爭前後政壇的祕辛,因為半山,二二八事變後許多台灣菁英無辜死亡。看這本書更能瞭解很多被包裝的假歷史,連衡及兒孫三代如何能飛騰發達,可能更會瞭解什麼是「以筆代劍」之意。





    Image may be NSFW.
    Clik here to view.


    圖: 三本長篇小說,現在版本很多,這些是我手上有的最早或較早版本。

    PEN, PENCIL AND POISON by Oscar Wilde

    Uncle Tungsten by Oliver Sacks

    這本書的中文本【鎢絲舅舅】似乎受忽視......

    “I had intended, towards the end of 1997, to write a book on aging, but then found myself flying in the opposite direction, thinking of youth, and my own partly war-dominated, partly chemistry-dominated youth, in particular, and the enormous scientific family I had grown up in. No book has caused me more pain, or given me more fun, than writing Uncle T.–or, finally, such a sense of coming-to-terms with life, and reconciliation and catharsis.”
    -- Oliver Sacks on "Uncle Tungsten"

    Long before Oliver Sacks became a distinguished neurologist and bestselling writer, he was a small English boy fascinated by metals–also by chemical reactions (the louder and smellier the better), photography, squids and cuttlefish, H.G. Wells, and the periodic table. In this endlessly charming and eloquent memoir, the author of The Man Who Mistook His Wife for a Hat and Awakenings chronicles his love affair with science and the magnificently odd and sometimes harrowing childhood in which that love affair unfolded. In Uncle Tungsten we meet Sacks’ extraordinary family, from his surgeon mother (who introduces the fourteen-year-old Oliver to the art of human dissection) and his father, a family doctor who imbues in his son an early enthusiasm for housecalls, to his “Uncle Tungsten,” whose factory produces tungsten-filament lightbulbs. We follow the young Oliver as he is exiled at the age of six to a grim, sadistic boarding school to escape the London Blitz, and later watch as he sets about passionately reliving the exploits of his chemical heroes–in his own home laboratory. Uncle Tungsten is a crystalline view of a brilliant young mind springing to life, a story of growing up which is by turns elegiac, comic, and wistful, full of the electrifying joy of discovery. Read an excerpt here: http://ow.ly/yhxCT

    Image may be NSFW.
    Clik here to view.
    相片:“I had intended, towards the end of 1997, to write a book on aging, but then found myself flying in the opposite direction, thinking of youth, and my own partly war-dominated, partly chemistry-dominated youth, in particular, and the enormous scientific family I had grown up in. No book has caused me more pain, or given me more fun, than writing Uncle T.–or, finally, such a sense of coming-to-terms with life, and reconciliation and catharsis.” -- Oliver Sacks on "Uncle Tungsten"  Long before Oliver Sacks became a distinguished neurologist and bestselling writer, he was a small English boy fascinated by metals–also by chemical reactions (the louder and smellier the better), photography, squids and cuttlefish, H.G. Wells, and the periodic table. In this endlessly charming and eloquent memoir, the author of The Man Who Mistook His Wife for a Hat and Awakenings chronicles his love affair with science and the magnificently odd and sometimes harrowing childhood in which that love affair unfolded. In Uncle Tungsten we meet Sacks’ extraordinary family, from his surgeon mother (who introduces the fourteen-year-old Oliver to the art of human dissection) and his father, a family doctor who imbues in his son an early enthusiasm for housecalls, to his “Uncle Tungsten,” whose factory produces tungsten-filament lightbulbs. We follow the young Oliver as he is exiled at the age of six to a grim, sadistic boarding school to escape the London Blitz, and later watch as he sets about passionately reliving the exploits of his chemical heroes–in his own home laboratory. Uncle Tungsten is a crystalline view of a brilliant young mind springing to life, a story of growing up which is by turns elegiac, comic, and wistful, full of the electrifying joy of discovery. Read an excerpt here: http://ow.ly/yhxCT


    "My own first love was biology. I spent a great part of my adolescence in the Natural History museum in London (and I still go to the Botanic Garden almost every day, and to the Zoo every Monday). The sense of diversity—of the wonder of innumerable forms of life—has always thrilled me beyond anything else."
    -- Oliver Sacks

    Dubbed “the poet laureate of medicine” by The New York Times, Oliver Sacks is a practicing neurologist and a mesmerizing storyteller. His empathetic accounts of his patients’s lives—and wrily observed narratives of his own—convey both the extreme borderlands of human experience and the miracles of ordinary seeing, speaking, hearing, thinking, and feeling. Vintage Sacks includes the introduction and case study “Rose R.” from Awakenings (the book that inspired the Oscar-nominated movie), as well as “A Deaf World” from Seeing Voices; “The Visions of Hildegard” from Migraine; excerpts from “Island Hopping” and “Pingelap” from The Island of the Colorblind; “A Surgeon’s Life” from An Anthropologist on Mars; and two chapters from Sacks’s acclaimed memoir Uncle Tungsten.

    Image may be NSFW.
    Clik here to view.
    相片:"My own first love was biology. I spent a great part of my adolescence in the Natural History museum in London (and I still go to the Botanic Garden almost every day, and to the Zoo every Monday). The sense of diversity—of the wonder of innumerable forms of life—has always thrilled me beyond anything else."  -- Oliver Sacks  Dubbed “the poet laureate of medicine” by The New York Times, Oliver Sacks is a practicing neurologist and a mesmerizing storyteller. His empathetic accounts of his patients’s lives—and wrily observed narratives of his own—convey both the extreme borderlands of human experience and the miracles of ordinary seeing, speaking, hearing, thinking, and feeling. Vintage Sacks includes the introduction and case study “Rose R.” from Awakenings (the book that inspired the Oscar-nominated movie), as well as “A Deaf World” from Seeing Voices; “The Visions of Hildegard” from Migraine; excerpts from “Island Hopping” and “Pingelap” from The Island of the Colorblind; “A Surgeon’s Life” from An Anthropologist on Mars; and two chapters from Sacks’s acclaimed memoir Uncle Tungsten.


    ‘Markets Over Mao’ 民進國退 Nicholas Lardy


    Writing China: Nicholas Lardy, ‘Markets Over Mao’
      Image may be NSFW.
      Clik here to view.
      Courtesy of the Peterson Institute for International Economics
      For the past 30 years, Nicholas Lardy has chronicled the immense changes in China’s economy and revealed some of the system’s biggest flaws. The problems include the banking sector’s bad loans in the late 1990s and the institutionalized exploitation of savers, via meager bank deposit rates, to finance economic growth.  In his latest book, “Markets Over Mao,” the 68-year old senior fellow at the Peterson Institute for International Economics in Washington D.C., takes on China’s state-owned enterprises. His surprising conclusion: They don’t have nearly the breadth and power that China’s many critics say they do.
      China Real Time recently talked with Mr. Lardy about the new book, its surprising conclusion and why he still thinks reform of state-owned firms is important. Below is an edited transcript.
      You argue that China’s state-owned enterprises don’t have the power that their opponents say they do. What’s your proof?
      SOEs appear to be a relatively small portion of the Chinese economy. They account for between one-third and one-quarter of GDP. But in manufacturing, SOEs only account for 20% of output. In some parts of the Chinese economy, the private sector has largely displaced state companies.
      You also say the notion that China flourishes because of “state capitalism” is outmoded. Why?
      State capitalism means a high degree of state ownership of production, a great deal of control over investment, a great deal of control of the banking sector and a very substantial use of industrial policy. I don’t think the term ‘state capitalism’ fits China very well because its industrial policy has been an almost complete failure.
      The return on assets of state firms is plummeting. It was around 3.7% in 2013, which is less than half the cost of capital.
      So how would you characterize the Chinese economy?
      It’s more accurate to think of it as a market economy. The role of the state has diminished dramatically from where it was 20 to 30 years ago. When you look at the number of people employed by the state, it’s less than France as a percentage of the labor force. China’s not a pure market economy, but it’s very hard to find pure market economies these days, especially given the recent history of the financial crisis and the degree of government ownership (that resulted from actions of the U.S. and other governments to limit  economic damage).
      State-owned Chinese banks, though, have been characterized as ATMS for state-owned firms. Doesn’t this arrangement give Chinese SOEs a leg up over foreign and domestic competition?
      A large percentage of the funds that banks lend goes to private enterprises. Banks are becoming more commercially oriented. The ability of private companies to repay loans is more than twice as great as state-owned companies, on average. (China’s banking system) is not 100% commercial, but it’s a lot more commercially oriented than observers perceive.
      It is still the case, though, that the private sector is underserved. Between 2010 and 2012, private firms received, on average, 52% of the loans going to all enterprises. But they produced between two-thirds and three-quarters of China’s GDP. If they had credit proportional to their contribution to output, they would have better access to loans.
      And you think the financial sector reforms being discussed will help private firms even more?
      If you have interest-rate liberalization on deposits, lending rates will tend to go up. That will mean an increase in the amount of credit flowing to private sector firms because they can pay somewhat higher rates to banks and still be profitable. If state-owned firms are earning far less than their cost of capital, the amount that banks will want to lend to them at higher rates will probably go down.
      But isn’t it clear that the Communist Party through its Organization Department exercises huge control over state-owned firms?
      There is political control. The party’s Organization Department controls the top 50 firms in terms of the appointment of the three main (executives.) Provincial (officials) control a much, much larger number of appointments. This is a fundamental flaw in the governance structure. It shows how little influence their  boards of directors have. The chief function of a board in any market economy is to choose who runs the company, particularly the CEO. But the Organization Department is making a serious effort to get good people.
      If the control of the economy by state-owned firms is diminishing, why do you argue SOE reform is so important?
      State firms’ return on assets is extremely low, relative to the cost of capital. That makes them a very big drag on China’s economic growth. They’re not that big a drag in manufacturing because state firms only account for about 10% of manufacturing investment. In the services sector, though, state firms are investing more than private firms. As China becomes a more service-dominated economy, there is an enormous opportunity (to boost economic growth by reducing state control).
      In modern business services—telecom, business and leasing services, transportation– state firms are very, very dominant.
      Logistics costs are relatively high. That’s in part because the logistics sector is fairly closed to foreign investment and parts of it are still very state-dominated. You’re imposing extra costs on the manufacturing sector and consumers, and making Chinese goods less competitive in global markets.
      Do SOEs still have the clout to block or slow reforms?
      They are an obstacle. The head of the Chinese banking association has stood up and publicly said that the association is against liberalization of deposit rates. Bankers complain that if rates are liberalized they won’t be able to make as many loans as before and that will be bad for the economy. They want more regulation to keep their protected low cost of funding. Those benefitting from (economic) distortions lobby against change.
      –Edited from an interview by Bob Davis. Follow him on Twitter @bobdavis187.
      Sign up for CRT’s daily newsletter to get the latest headlines by email.

      Of the 95 Chinese companies on the Fortune 500 list of the world's biggest firms, some 80% are owned by the government. But in his book "Markets Over Mao", Nicholas Lardy methodically pieces together Chinese data to argue that it is the private sector, not the state, that has powered growth since the country's reform era began in 1978http://econ.st/1tFjACH


      Maurice Ravel, 施特格曼《 莫里斯·拉威爾》

      Maurice Ravel, Parisian Night Owl


      Maurice Ravel Maurice Ravel (Wikimedia Commons)
      Maurice Ravel’s secret to composing piano music was innovation and observation, using the resources of the modern piano to its full potential. His first piano lesson was at age seven, and he entered the Paris conservatory when he was just 14 years old. However, Ravel never stopped being a student. He relished in Paris's creative atmosphere, especially at nighttime, using this as major inspiration in his work.

      Reflections From the Keyboard
      Pianist, teacher and author David Dubal hosts a weekly exploration of classical music's piano greats.

      More
      Ravel’s music is brought to life in this episode through Emil Gilels, Martha Argerich and Arturo Benedetti Michaelangeli, among others.

      Program playlist (all by Maurice Ravel):

      Sonatine: 3. Animé
      Martha Argerich
      Philips

      Pavane for a Dead Princess
      Angela Hewitt
      Hyperion

      Le Tombeau de Couperin: Toccata
      Emil Gilels
      Philips

      Noctuelle
      Jacques Fevrier
      Naxos

      Gaspard de la nuit: 2. le gibet
      Walter Gieseking
      Philips

      Piano Concerto in G: 2. Adagio assai
      Arturo Benedetti Michaelangeli

      Une Bargue sur l'Océan
      Leonard Pennario
      MSR

      Piano Concerto in G: 3. Presto
      Krystian Zimeran; Pierre Boulez
      Deutsche Grammophon

      莫里斯·拉威爾
      作 者:施特格曼
      出版社:人民音樂 2014
      莫里斯.拉威爾特色及評論
      《羅沃爾特音樂家傳遍叢書:莫里斯·拉威爾》一個特點是前面提到的文字內容和豐富圖片文獻的搭配。我國的出版界常用“圖文並茂”形容好的出版物,但是有的書刊文字配了許多花花綠綠的圖片,看起來琳瑯滿目,但與文本內容沒有多大關係。“羅沃爾特音樂家傳記叢書”豐富的圖片資料與文本內容相得益彰,放在有關內容旁邊,起到了使內容具有直觀的形象性作用,使讀者閱讀時不感到枯燥,而且加深了對內容的印象。
      莫里斯.拉威爾本書目錄
      是巴伐利亞國王路德維希二世的同類
      於1875年3月7日出生於西布雷城
      於1897年進入加布里埃爾·福雷的作曲班
      事件ⅰ:羅馬大獎
      事件ⅱ:拉威爾和德彪西
      無論如何,我現在很愉快
      事件ⅲ:《自然界的故事》
      盡力譜寫完全不同的東西
      曾經心緒欠佳
      根本沒有預料會有這麼快
      事件ⅳ:榮譽勳位
      已經完全習慣了孤獨
      腦海中還有那麼多音樂註釋拉威爾年表評論作品目錄作者簡介





      莫里斯.拉威爾作者介紹
      米夏埃爾·施特格曼,1956年出生於奧斯納布呂克,曾在明斯特(音樂學、羅馬語族語言文學研究、哲學和藝術史)和巴黎(在梅西昂的大師班學習創作,等等)受高等教育。1981年,以關於卡米耶·聖一桑的一篇論文獲得哲學博士學位。從1981年到1987年,在明斯特大學任教並擔任《新音樂雜誌》(NeueZeitschrift ffir Musik)編輯。為唱片公司、廣播機構和出版社做了大量工作,最近一次(1992年)和加拿大鋼琴家格倫·古爾德有關。至今創作了大約40部音樂作品,其中包括單人廣播劇《魯道爾夫之二》(Rudolf Zwei)(西德意誌廣播電台,1994年)。米夏埃爾·施特格曼為“羅沃爾特專題著作”撰寫了《安東尼奧·維瓦爾迪》(rm338)和《卡米耶·聖-桑》(rm 389)。

      莫里斯·拉威爾Maurice Ravel

      • 生卒日期 : 1875-03-07至1937-12-28
      • 國家/地區 :法國

      閱讀:張愛玲



      袁瓊瓊──張愛玲與閱讀 2014-10-28


      2014/10/27 【讀‧書‧人 專欄/袁瓊瓊】
      張愛玲過世後,她的遺囑執行人林式同開了份遺物清單給宋淇,上面除了傢俱,衣服,來往信件,作品手稿,照相之外,最後一項,簡單的只寫:「書籍」。


      報導上指張愛玲身無長物,居所非常簡單,沒有家具、沒有床,她睡在活動舖蓋上面。發現她的警察說:「不記得她房子有什麼家具,只知道到處有很多紙張文件。

      警察沒有說是書,只說「紙張文件」。判斷應該是「來往信件」「作品手稿」之類。而我很好奇,林式同在張愛玲屋子裡發現的「書籍」是些什麼書。份量不會多,因為跟隨其他的什物一起裝箱,也不過就幾個紙箱而已。

      張愛玲是寫書的人,她的讀者分佈全球,五大洋七大洲中,有無數人家的書架上放著她的書,可能還是全套。但是她自己,似乎沒有「書房」或「書架」這種東西。至少她的任何照片或文字裡,沒有提過她自己藏書汗牛充棟。

      張愛玲不是不閱讀的人,除了「紅樓夢魘」,專談書的就有「談看書」和「談看書後記」兩篇,這兩篇加起來也有五萬來字。裡頭談的,雖然以「叛艦喋血記」為主,但也旁及其他許多書。從這些文字看來,張愛玲的閱讀是雜食性的,或可說:她之閱讀,好像不在乎有沒有「營養」,隨手抓來,看出興味便讀下去,沒興趣就放手。她晚年若是活在台灣,我猜她一定會看八卦雜誌。因為閱讀於她不是嚴肅的事情,可能隨看隨丟。這所以她的遺物裡「書籍」不多。

      我近年來,對於「閱讀」也有相似的看法。總覺得對待讀書,宜用「見大人則藐之」的心態。管他什麼了不起的書,看的時候還是要帶點挑剔,要把書這玩意當作是取悅我們的,看的不高興不歡喜就別看了。閱讀應當是開心的事,是有吸引力的。我們在書裡頭發現別人發現自己,發現另一個世界,如果一本書,不論多麼偉大,讀上去很悶的話,那就不該看,至少是,這本書能夠「取悅」你的時候未到。

      張愛玲隨意閱讀,看似不揀擇,其實是非常「有營養」的讀書方式。不管看的是什麼書,她總是會用自己的經驗和想法來「解釋」這本書。這樣的閱讀法,書裡的經驗跟我們自身經驗結合,而作者如果比我們睿智,比我們深刻,某種程度,他就帶著我們更上一層樓,提升了我們自己對生命的認知。這所以我總覺得開書單這檔事意義不大,那些被公認的「有意義的書」,「值得閱讀的書」,如果就是讀不下去呢?如果裡頭就是沒有能夠與我們生命連結的東西呢?

      我很感謝自己生於當今時世,從來沒有那個時期,有這樣多豐富的出版物,有這許多有趣的,荒唐的,乖謬的,充滿奇思異想,古怪經驗的書籍。但是有時真是覺得太多了,就算是那些我真正有興趣,渴想一讀的書,也覺得無窮無盡,這輩子肯定是讀不完的。這時候就總是想起張愛玲,想起她的「身無長物」。她在過世前捨棄了許多東西,但是留下了幾本書。是什麼書,其實不重要。她可能已經不閱讀了,而身邊的書籍成為符號,代表她。

      Quote:人世的牽連,代表她曾經閱讀別人,因而閱讀了自己。...

      The Mind's Eye by Oliver Sacks 看見聲音/ 色盲島, Musicophilia, Hallucinations

       

      "Music, uniquely among the arts, is both completely abstract and profoundly emotional.... Music can pierce the heart directly; it needs no mediation."
      — Oliver Sacks, Musicophilia: Tales of Music and the Brain

      Read an excerpt: http://bit.ly/1oI6hdY
      Image may be NSFW.
      Clik here to view.
      相片:"Music, uniquely among the arts, is both completely abstract and profoundly emotional.... Music can pierce the heart directly; it needs no mediation." — Oliver Sacks, Musicophilia: Tales of Music and the Brain  Read an excerpt: http://bit.ly/1oI6hdY

       

      Musicophilia:

      Tales of Music and the Brain
      Image may be NSFW.
      Clik here to view.
      Front Cover
      Knopf Doubleday Publishing Group, Sep 23, 2008 - 425 pages
      "Oliver Sacks explores the place music occupies in the brain and how it affects the human condition. In Musicophilia, he shows us a variety of what he calls "musical misalignments." Among them: a man struck by lightning who suddenly desires to become a pianist at the age of forty-two; an entire group of children with Williams syndrome, who are hypermusical from birth; people with "amusia," to whom a symphony sounds like the clattering of pots and pans; and a man whose memory spans only seven seconds - for everything but music. Dr. Sacks describes how music can animate people with Parkinson's disease who cannot otherwise move, give words to stroke patients who cannot otherwise speak, and calm and organize people who are deeply disoriented by Alzheimer's or schizophrenia." - Back cover
       此書中文版2008年: 腦袋裝了2000齣歌劇的人

       

      Image may be NSFW.
      Clik here to view.

      'Hallucinations'

      By OLIVER SACKS
      Reviewed by SIRI HUSTVEDT
      Oliver Sacks explores the power of hallucinations through first-person accounts.

       

      The Mind's Eye by Oliver Sacks – reviews

       

      'The Mind's Eye'

      By OLIVER SACKS
      紐約時報
      The Resilient Brain
      Image may be NSFW.
      Clik here to view.

      Chris McGrath/Getty Images
      Oliver Sacks in 2009.

      Those whose familiarity with Oliver Sacks extends only to his vivid book titles — “The Island of the Color­blind,” “An Anthropologist on Mars,” “The Man Who Mistook His Wife for a Hat” — may picture his writing as a gallery of grotesques, a parade of the exotically impaired. Sacks, a practicing neurologist, does specialize in case studies of highly unusual patients. But even as he entertains and diverts with his dramatic tales, Sacks has always been up to something else: he is gently educating us about the frailties and flaws — and the strengths and capacities — of “normal” people, those whose afflictions are of the most ordinary sort. You may never have confused your spouse for an item of outerwear, but have you ever failed to recognize the face of an acquaintance? Fumbled for a word that eluded your grasp? Read a sentence three times and still didn’t get it?

      THE MIND’S EYE

      By Oliver Sacks
      263 pp. Alfred A. Knopf. $26.95

      Related

      Such familiar slips, and how we handle them, are the stealth subjects of Sacks’ latest book. “The Mind’s Eye” is a collection of essays — some of which have already appeared in The New Yorker— but it has a remarkably graceful coherence of theme, tone and approach. Once again, Sacks explores our shared condition through a series of vivid characters: the woman who couldn’t talk, the man who couldn’t read, the “prosopagnosic” who couldn’t identify her own face in a photograph. (For those who wonder just how Sacks locates such people, it soon becomes clear that many of his patients find him, after recognizing themselves in his writing. They enter his care through the pages of his books, and in turn become characters in his next round of stories.)
      The sufferers who write to Sacks receive a deeply empathetic response. Of one correspondent, a woman who has lost the capacity to read (but, remarkably, retains the ability to write), Sacks notes that he responded to her by telephone. “I normally would have written back,” he tells us, but in this case calling “seemed to be the thing to do.” Over time this patient, afflicted with a degenerative brain condition called posterior cortical atrophy, loses her ability to recognize objects and people, though she retains a keen sense of color and shape. When Sacks meets her in person to see how she navigates her everyday life, he dresses head to toe in red so she can keep track of him in a crowd.
      Given to such un-self-consciously generous gestures, Sacks would seem to be the ideal doctor: observant but accepting, thorough but tender, training his full attention on one patient at a time. For the patient’s benefit and for ours, he illuminates every uncanny detail, brings out every excruciating irony. The woman for whom Sacks dresses in red, for example, is a virtuoso pianist, and the first sign of her malady is a sudden inability to read music. She is joined in these pages by a novelist who wakes up one morning unable to read, and an intensely sociable woman who is suddenly struck dumb. But Sacks is not primarily interested in documenting pathology, or even curing disease, which in most cases is impossible. There are no miraculous “awakenings” here.
      Rather, he is most engaged by the process of compensation, how people make up for what they have lost, wresting new possibilities from their newly imposed limits. There’s the blind man who develops super-sensitive hearing, the deaf woman who catches tiny shifts in facial expression — and that pianist, who loses her ability to read music but gains new richness in her thinking about music. “She felt that her musical memory, her musical imagery, had become stronger, more tenacious, but also more flexible, so that she could hold the most complex music in her mind, then rearrange it and replay it mentally, in a way that would have been impossible before,” Sacks writes.
      Sometimes these compensations are biological, he explains. The brain, plastic even into adulthood, reshapes itself to fit a new reality. In people who become blind as adults, Sacks notes, the part of the brain that once processed visual information does not atrophy, but is reallocated for another use. “The visual cortex, deprived of visual input, is still good neural real estate, available and clamoring for a new function.”
      At other times, compensation takes the form of an ingenious tool. The social butterfly rendered mute by a stroke uses a lexicon, a book full of words to which she can point. (The lexicon is devised for her by a speech pathologist who is herself, Sacks notes in passing, a quadriplegic.) The novelist employs a journal-like “memory book” to teach himself how to read again. Such tools can help forge a new whole from patients’ shattered identities. As the novelist puts it, “The memory book returned a piece of myself to me.”
      Sacks is most attuned to the psychological and emotional adjustments patients make to their new status; he clearly admires how they have gone on “to develop other ways of doing things, capitalizing on their strengths, finding compensations and accommodations of every sort.” In her piano playing, Sacks writes, the woman who could no longer read “not only coped with disease, but transcended it.”
      So rewarding are the compensations of Sacks’ patients, in fact, that we begin to feel as if the tragedies that befell them were not tragedies at all, but — as the self-help books say — opportunities for growth. Then we arrive at the book’s penultimate essay, about Sacks’ own ocular cancer. His story is told in journal entries, dated from December 2005 to December 2009, which take on a deepening urgency as we experience along with him one event after another: the strange symptoms, the grim diagnosis, the painful treatment, the halting, incomplete recovery. Sacks’ jaunty confidence and sanguine attitude disappear, replaced by a panicked and sometimes piteous voice that is new to the reader and (if I may be so ungenerous) quite unwelcome. On Dec. 25, 2005, he writes: “Everyone says ‘Merry Christmas!’ and I reply in kind, but this is the darkest Christmas I have ever known. The New York Times today has pictures and stories of various figures who have died in 2005. Will I be among those figures in 2006?”
      I found myself longing for the return of the ideal doctor of earlier chapters, and then I saw. He was right there, teaching us one more lesson: that compensation is meager consolation, that loss is painful, no matter what replaces it. Even those of us who have never lost our sight or faced a cancer diagnosis know how profoundly unsettling change can be. A move to a new job or a new neighborhood may make us, for a time, full of complaint and self-pity. It is characteristic of Sacks’ generosity to his patients that he allows only himself to be seen in this light.
      Yet Sacks does eventually rally, his playful spirit intact. He notices that the blind spot, or scotoma, in his tumor-­stricken right eye resembles the shape of Australia, “complete with a little bulge in the southeast corner — I thought of this as its Tasmania.” He observes that if he keeps his gaze steady for a few moments, his brain will “fill in” his blind spot with imagery borrowed from the parts of the scene he can see. The ever resilient brain, he remarks, “does not just fill in color, it fills in patterns too, and I enjoyed experimenting with my own scotoma, testing its powers and limitations.” Sacks calls this activity “scotomizing.”
      Irrepressible though he may be, Sacks will not let us forget the sober lesson of his experience. He ends the essay not with a cheering paean to human resilience, but with a bleak new turn of events. A hemorrhage has further clouded his vision, leaving him with a gaping “nowhere” in his right visual field. “Time will tell whether I am able to adapt to this new visual challenge,” he writes.
      Perhaps Sacks will take comfort from his novel-writing patient, who with great effort taught himself to read again. “The problems never went away,” the novelist reports, “but I became cleverer at solving them.”
      Annie Murphy Paul is the author of “Origins: How the Nine Months Before Birth Shape the Rest of Our Lives.”



      ***

      The Mind's Eye by Oliver Sacks – review
      The great neurologist's study of sight comes alive when he steps into the clinical spotlight himself





        Image may be NSFW.
        Clik here to view.
        Oliver Sacks
        Oliver Sacks mixes case stories, essays and memoir to show 'the complex workings of the brain and its ability to overcome disability'. Photograph: Joe McNally/Getty We are all close to the brink of being someone else. The width of the wall of an artery, say, or the split-second action of a brake pedal, can be the difference between seamless continuation of the self we know and a mind-shattering stroke or head injury. We take our fragile brains so much for granted, sensibilities dulled by what Richard Dawkins calls the "anaesthetic of familiarity". But consider this, the strangest of facts: your thoughts, memories and emotions, your perceptions of the world, and your deepest intuitions of selfhood, are the product of three pounds of jellified fats, proteins, sugars and salts – the stuff of the brain and as tough as blancmange. It's absurd, wonderful and terrifying.
        1. The Mind's Eye
        2. by Oliver Sacks
        3. Image may be NSFW.
          Clik here to view.
        4. Buy it from the Guardian bookshop
        Oliver Sacks is a perfect antidote to the anaesthetic of familiarity. His writing turns brains and minds transparent. His first excursion into the alien landscapes of brain damage, The Man Who Mistook His Wife For a Hat, was published a quarter of a century ago. It anchors his reputation as the foremost interpreter of neurology for a general readership, and as the man who transformed a clinical genre, the case history, into a literary one. Sacks observed his amnesiacs, his agnosics and his disembodied ladies with a forensic, but always compassionate eye, and the writing was infused with innocent wonderment. At least one critic, a fellow neurologist, thought Sacks was being disingenuous. Did he really read up on the scientific literature only after encountering a patient with a particular condition? Yes, it seems he did, and a good thing too, I think, because it gave his observations a colour and freshness they would not have had through the dead gaze of medical preconception.
        Does the formula still work? The Mind's Eye, his 11th book, takes vision and visual imagination as the overarching theme, mixing case stories, essays and memoir. The aim, as ever, is to "show us what is often concealed in health: the complex workings of the brain and its astounding ability to adapt and overcome disability". Sacks fans will get what they want: the comfortable prose, the well-crafted storytelling and the generosity of spirit that, by all accounts, is no literary concoction but part of the protoplasm of the man himself. Then there are the scientific and philosophical digressions. His thoughts on the visual dimensions of language alone could launch a fleet of PhDs.
        So there's much to admire. But I confess there were times when my fingers were racing my eyes in a footnote-stumbling scramble to get through to the end of certain chapters. The case histories were the problem. I found some of them overstuffed, both with detail and moral sentiment. There's only so much compassion a man can take, only so much astonishment at human resilience. I began to yearn for a shift of register, for failure and despair, for a patient who disappoints or defeats Dr Sacks. But no, there is never anything, ultimately, but uplift.
        It's a somewhat skewed selection of cases for a book dealing predominantly with the sense of sight. Two of the four have essentially the same disorder, "alexia sine agraphia", which means inability to read while retaining the ability to write. Devastatingly for Lilian (the renowned concert pianist Lilian Kallir), the condition also affects her ability to read music. Howard is no less disabled by the condition. He's a crime novelist. How will he ever write another detective story if he can't read his own plot notes? A third patient, Pat, suffered a stroke and lost the power of speech. She doesn't seem to have a perceptual disorder as such, and so sits slightly eccentric to the others. The fourth case, "Stereo Sue", saw the world only in two dimensions until her 50s. The belated gift of depth perception is a joy beyond analysis. "Enough thinking!" she tells Sacks at one point.
        Sacks is as strong as ever on the resourcefulness of embattled brains. He shows us Howard, for example, discovering the complementarity of vision and action when he realises that tracing the outlines of words with his tongue has the remarkable effect of improving his reading comprehension. "Thus, by an extraordinary, metamodal, sensory-motor alchemy... he was, in effect, reading with his tongue." And so he goes on to write another novel. This is inspirational stuff, but relentless positivity can be wearying. We leave Lilian at her piano. She's playing Haydn "with consummate artistry", having overcome an earlier bout of anxiety and confusion. The conclusion of the piece is a moment of triumph. "All is forgiven," she says. We are not told that she will be dead within a couple of years. We know nothing of the distress and indignities she might have gone on to bear as the disease crept inexorably through her brain. Bleak suffering, hopelessness and death are also part of the neurological landscape and I sometimes wish Sacks would stare harder into the shadows.
        The Mind's Eye would have been a disappointment had it looked no further for clinical material. But there's a redeeming fifth case: Oliver Sacks. And when the author steps into the clinical spotlight the book comes to life. His well-documented absent-mindedness, "what is variously called my 'shyness', my 'reclusiveness', my 'social ineptitude', my 'eccentricity', even my 'Asperger's syndrome'", can, he thinks, be put down to lifelong face blindness. A rare consequence of brain injury, it is now understood to be quite common in the general population, varying in severity from habitual misrecognition of acquaintances to not recognising one's own children. Sacks's problem seems to fit at the more severe end of the spectrum, among those who are discombobulated even by their own reflection. On one occasion, he finds himself grooming his beard in a restaurant window only to realise that "what I had taken to be my reflection... was in fact a grey-bearded man on the other side of the window, who must have been wondering why I was preening myself in front of him".
        The face blindness essay is engaging, informative and tonally consistent with the rest of the book. But the pace accelerates and the mood shifts in the penultimate chapter when Sacks is diagnosed with eye cancer. "Let's look at the worst-case scenario," says his ophthalmologist, but Oliver isn't listening: "a voice had started up in my head, shouting, 'CANCER, CANCER, CANCER...'" So, no more the dispassionate clinician looking in, anthropologically, on someone else's disease, hope invariably trumping despair. We now get to see him from the inside, and he turns out to be a restless worrybones, knocking himself out with sleeping pills to snuff out the spectres of mortality. His journal takes us, compellingly, through diagnosis and treatment to an almost total loss of vision in his right eye, the effects of which are meticulously documented. People "disappear into thin air" as they enter the void of his right visual field, and it's no longer a metaphor, he says, but "as close as I can come to describing the experience of nothingness and nowhere". The cancer seems not only to have stirred fears of death but also, perhaps, given him a glimpse of it.
        Paul Broks is a neuropsychologist and author of Into the Silent Land: Travels in Neuropsychology (Atlantic)



        只要是寫作,就有文字要求。傳統科學寫作,不脫教科書包袱,而味如嚼蠟。至於增加趣味之道,各家不同:善用奇聞軼事、製造懸宕,或加入主觀經驗等,都屬常見。寫作《睡人》、《舅舅》等書的薩克斯認為,好的科學寫作必須「流暢自然、清晰透明,不裝腔作勢,或玩弄文字遊戲」。他還說,他「會受某篇文章吸引,不只是因為該文提供了新知,同時還由於文章具有強烈個人觀點與引人入勝的文字,而將一篇單純報告,提升至清晰、充滿個人色彩的美文境界」,這樣的要求,已不獨科學寫作為然。 ---潘震澤




        看見聲音:走入失聰的寂靜世界 Seeing Voices : A Journey Into the World of The Deaf

        「一份撼動人心而又啟人深思的報導。」--《出版人週刊》(Publisher’s Weekly)
           腦神經醫師Oliver Sacks以其專業背景,配合傑出的說故事技巧,創作了多部膾炙人口的佳作,例如《睡人》、《錯把太太當帽子的人》、《鎢絲舅舅》。讀者較不知道的是,他 對手語及耳聾的世界也深感興趣。在這本書中,他探索了聾人世界的種種面向--訪談聾人及其家庭,造訪啟聰學校,深究聾人的歷史。他寫道:「如今我必須以新 的、『種族的觀點』去看待他們,他們是擁有獨特的語言、感知與文化的人。」
           事實上「動人」(moving)和「啟思」 (thought-provoking)正是薩克斯作品的特色。不論是在《錯把帽子當太太》、《色盲島》,薩克斯以設身處地的同理心,描繪出人類因自身的 缺陷而遭逢的處境,故能動人;以過人的好奇心與理解力,見常人所未見,故能「啟思」。
          表面上,《看見聲音》是一本歐美社會對待聽障的近代史,兼及美國手語的沿革發展;但是,薩克斯的企圖不止於此,他還想藉著聽力的障礙,來探索人何以為人。
          人,是語言的產物。當笛卡兒說「我思故我在」時,他以為凡是人都有思想能力,但是聽力「正常」的人卻忘了,人是用語言來思想。沒有了語言能力,這個人的內心世界是什麼模樣?沒有語言,人要如何思考,如何建立概念?
          失聰,也就阻絕了人與語言接觸的機會,而在不同年齡的失聰,也正可對照出認知發展所側重的不同階段。薩克斯以高超的敘述技巧,往返於聽障與非聽障族群之間,交相對照,衝擊既有成見。
        作者簡介
           奧立佛‧薩克斯(Oliver Sacks) 在文藝復興時期,歐洲(特別是義大利)突然之間發了狂似的,出現了米開朗基羅、達文西這類通曉藝術、科學、文學的十項全能。於是,「文藝復興人」遂成了西 方文明的理想,而在每個時代,也總有少數秀異之士,能兼善數種藝事,奧立佛.薩克斯(Oliver Sacks)顯然是其中之一。
          他是傑出 的神經科學家,也是深具魅力的作者,透過《錯把帽子當太太的人》、《睡人》、《色盲島》、《火星上的人類學家》等數十本書,薩克斯每每帶領讀者走入病態的 世界,但是那個病態在他的筆下,卻是充滿了奇異的光輝,引人好奇,意欲一探究竟。奧妙的是,讀者走入薩克斯所呈現的世界之後,並不覺得薩克斯是從「正常」 的眼光來看待「病態」。每一種病態,都是生命難以承受之重,但也是一種福佑。據說薩克斯長年為偏頭痛所苦,這或許時時提醒他,避免身為醫者的傲慢,以更細 膩、同情的眼光看待人類的不幸。而薩克斯也的確有煉金師般的本事,能化平凡為神奇。

        譯者簡介
          韓文正,資深出版人,現專事翻譯。譯作有《美國總統的七門課》(合譯)、《鏡頭下的情人》、《所謂英國人》、《人性拼圖I、II》、《蘇格蘭人如何發明現代世界》(以上由時報文化出版)、《決策時刻》(大塊文化)等。

        此書將對失聰者的辱稱"
        incompetent"前後翻譯不一致
        (ĭn-kŏm'pĭ-tənt) Image may be NSFW.
        Clik here to view.
        pronunciation

        adj.
        1. Not qualified in legal terms: a defendant who was incompetent to stand trial.
        2. Inadequate for or unsuited to a particular purpose or application.
        3. Devoid of those qualities requisite for effective conduct or action.
        n.
        An incompetent person.

        incompetentlyin·com'pe·tent·lyadv.





        Seeing Voices


        Like The Man Who Mistook His Wife for a Hat, this is a fascinating voyage into a strange and wonderful land, a provocative meditation on communication, biology, adaptation, and culture. In Seeing Voices, Oliver Sacks turns his attention to the subject of deafness, and the result is a deeply felt portrait of a minority struggling for recognition and respect--a minority with its own rich, sometimes astonishing, culture and unique visual language, an extraordinary mode of communication that tells us much about the basis of language in hearing people as well. Seeing Voices is, as Studs Terkel has written, "an exquisite, as well as revelatory, work."
        Image may be NSFW.
        Clik here to view.
        色盲島


        色盲島


          本書為《睡人》作者奧立佛.薩克斯的最新作品,分別描寫了他的兩段南太平洋島嶼之旅。在第一部〈色盲島〉中,薩克斯造訪的是遺傳性色盲盛行的平格拉普島和彭貝島;而在第二部〈蘇鐵島〉中,他則來到關島,觀察當地已有百年歷史的一種神祕的神經退化癱瘓病變。
           作者以一貫飽含人文關懷的詩意筆觸,不只藉由島上民族的風土病,研究神經醫學的未知領域,也寫各島居民的悲喜哀樂,以及自己在陌生景物與異國風情刺激下 的深刻自剖,廣泛探索了植物的奧妙、島嶼的意義、疾病的起源、地質學時間的本質和人類的複雜性等主題;既蘊含社會醫學的探討精神,又洋溢著溫馨細膩的旅遊 文學風采,在科文讀物中特別顯得獨樹一幟。

        深度推薦


        《博客來導讀》還記得小時候的色盲檢驗嗎?看著繪上不同顏色的圓點狀數字卡判別是否為色盲,而同學中確定為色盲者則是微乎其微;但在南太平洋中,就有這麼一個島嶼,那裏的原住島民多半為先天性色盲,而且在他們單調的視覺下,還發展出另一套看待世界、辨別事物的方法。
        本 書記錄了神經醫學專家奧立佛.薩克斯,為找出色盲島及色盲族群成因,和罹患有如巴金森式症的進行性神經病變族群,所進行南太平洋特殊風土 病(endemic)的研究探尋之旅。在平格拉普和彭培兩個島嶼的實地研究中,作者發現在外來人口移居下,雖然先天性色盲者的比例並不高,但兩個島的色盲 者的確有著相當密切的血緣關係;而且這兩地對色盲者的態度,也有著世界其它地區難得見到的寬容與關懷;而在關島及羅塔島兩地,作者也發現了當地人慣食蘇鐵 與進行性神經病變間的關係。深刻的風土人文記錄以及人道關懷精神,都為本書增添許多風采。
        或許這樣的研究對當地的疾病並沒有立即實質的幫助,但這樣一個實地對風土疾病的研究態度,卻為地區性疾病研究立下相當好的範例。台灣和日本過去也曾有烏腳病和水俁病的案例,這樣的研究精神或許是我們應該好好效法學習的。

      Martin Luther's Table-Talk 節本/Melanchthon為馬丁路德所寫的第一篇傳記


      British Museum 新增了 2 張相片。
      ‪#‎onthisday‬ in 1517: Luther nails his 95 Theses to a church door, sparking the Reformation http://ow.ly/DBJC0
      See Luther's 1541 Bible with a dedication in his own hand in our exhibition ‪#‎MemoriesOfANation‬ http://ow.ly/CeCXL

       Luther Table Talk:" Such were the fruits of forced celibacy?"

       《管錐編》p.1543

       同樣的翻譯本的引文/簡化
      錢鍾書 引的沒在下書出現


      此 書香港似乎有翻譯本待查

      Martin Luther's Table-Talk

      www.lutherdansk.dk/Table-Talk/index1.htm - 頁庫存檔 -翻譯這個網頁
      English translation of Martin Luther's Table-Talk. ... Divine Discourses at his Table, held with divers learned Men and pious Divines;


       THE
      OF
      TRANSLATED BY WILLIAM HAZLITT, Esq.
      Philadelphia:
      The Lutheran Publication Society

      Typed by: Kathy Sewell ksewell@gate.net
      June 1, 1997
      This book is in the public domain

      ________________

      Image may be NSFW.
      Clik here to view.

      Martin Luther, Johannes Bugenhagen, Philip Melanchthon, Caspar Creuziger, Justus Jonas and Vitus Dietrich at the table (Original print 1558).




      臺大歷史系講論會
      Melanchthon為馬丁路德所寫的第一篇傳記
      花亦芬老師主講(臺大歷史學系教授)
      人文學者Philipp Melanchthon(1497- 1560)是馬丁路德(Martin Luther, 1483-1546)在德意志宗教改革過程中,最重要的「戰友」。路德過世後三個多月,Melanchthon為路德的拉丁文文集(Omnia Opera)第二冊寫了一篇〈路德傳〉作為序言(“Praefatio”)。這篇路德傳隨後以單行本(Historia D. Martini Lutheri) 流傳,成為後世(尤其是親基督新教陣營)認識路德生平與思想最重要的依據。換言之,我們今天對路德的認識受到這篇傳記影響甚深。這篇傳記不僅是第一篇關於 路德的傳記,在書寫上,Melanchthon也將宗教改革所有的奮鬥與成就歸給路德,絲毫不提自己長年的努力與付出。在這篇傳記影響下,德意志宗教改革 史的書寫也形成以路德個人為中心的傳統史觀。
      隨著現代宗教改革史研究多元視野的開展,近年來的研究除了跳脫以路德 為中心的英雄史觀,將當時一般社會大眾對路德改革思想的反應與民間宗教生活習慣的變動(與不變動)納為歷史觀照的範圍外,也開始檢視 Melanchthon對宗教改革運動的影響。本文希望以1546年Melanchthon所寫的《路德傳》為基礎,討論他為基督新教開創了何種傳記書寫 觀?這種書寫觀與古希臘羅馬的傳記以及中古的聖徒傳差異何在?對基督新教的意義又是甚麼?此外,雖然Melanchthon在《路德傳》裡沒有花費筆墨談 論自己對宗教改革運動參與的詳情,本文仍將析論,Melanchthon在字裡行間還是清楚表達出,自己何以要放棄如Johann Reuchlin(1455-1520)與Erasmus of Rotterdam(1466-1530)等人文學者可以安然享有的學術尊榮,不懼時代風濤,與路德並肩奮鬥長達二十七年有餘。透過這個闡析,本文將進一 步討論,Melanchthon的抉擇與他對提升德意志社會文化的思考有何關聯?這些思考又與路德的宗教思想以及Erasmus的人文學教育理想有何差 異?透過上述的討論,本文希望論述Melanchthon個人思想的獨立性,以此來重塑德意志宗教改革原本具有的多元風貌,並重新省思十六世紀宗教改革運 動的本質與特色。
      Viewing all 6917 articles
      Browse latest View live