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A Far Corner:Life and Art with the Open Circle Tribe

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A Far Corner
Life and Art with the Open Circle Tribe
Scott Ezell

hardcover2015. 344 pp.
978-0-8032-6522-6
$27.95 t


In 2002, after living ten years in Asia, American poet and musician Scott Ezell used his advance from a local record company to move to Dulan, on Taiwan’s remote Pacific coast. He fell in with the Open Circle Tribe, a loose confederation of aboriginal woodcarvers, painters, and musicians who lived on the beach and cultivated a living connection with their indigenous heritage. Most members of the Open Circle Tribe belong to the Amis tribe, which is descended from Austronesian peoples that migrated from China thousands of years ago. As a “nonstate” people navigating the fraught politics of contemporary Taiwan, the Amis of the Open Circle Tribe exhibit, for Ezell, the best characteristics of life at the margins, striving to create art and to live autonomous, unorthodox lives.

In Dulan, Ezell joined song circles and was invited on an extended hunting expedition; he weathered typhoons, had love affairs, and lost close friends. In A Far Corner Ezell draws on these experiences to explore issues on a more global scale, including the multiethnic nature of modern society, the geopolitical relationship between the United States, Taiwan, and China, and the impact of environmental degradation on indigenous populations. The result is a beautifully crafted and personal evocation of a sophisticated culture that is almost entirely unknown to Western readers.
 
Scott Ezell is a writer and artist living in California and Asia. He is the author ofPetroglyph Americana and the chapbook Hanoi Rhapsodies, and is the editor and coauthor of Songs from a Yahi Bow.
“This is a marvelous journey into the worlds of indigenous peoples in the coastal, seaside mountains of Taiwan, pursuing their age-old habits in the backwaters of empires, Chinese and Japanese, old and modern. Ezell, a young American musician and poet, writes with fine story-telling skill.”—John Balaban, author of Remembering Heaven’s Face

“Scott Ezell is a highly talented, very imagistic writer who packs his work with action and colorful sensory-driven details. He has a knack for showing us a people from an insider as well as an outsider perspective. Ezell writes in a beautiful, lyrical prose style that is colorful and full of texture and emotion.”—Mark Spitzer, author of Season of the Gar 

“Reading Scott Ezell’s A Far Corner I gradually became absorbed and actually delighted. Like true adventures this story is about something which, chances are, you will know nothing and consequently become pleasurably informed.”—Jim Harrison, author of Returning to Earth
 


“There’s magic in this brilliant, lyrical, and deeply informed ethnography. Ezell, happily, never gets in the way of the Austronesian artists, musicians, and craftsmen whose self-conscious recreation and performance of indigenous identity he has so closely and sympathetically observed. So much comprehension has rarely come with so much pleasure and satisfaction.”—James C. Scott, Sterling Professor of Political Science and Anthropology, Yale University

Yi-Ling Chen 5小時 ·
About Dulan written by Scott Szell. Thanks to Douglas Newton for bringing me to Dulan to rediscover the marvelous homeland. 都蘭的故事,我第一次去都蘭,就是住這個作者的家,在山的盡頭一個農舍,我睡在熟悉的公媽廳的禢塌米地板,卻好像在加州一樣,非常的錯置,好像在台灣又好像不像。之後,每半年總要去一次都蘭,每次都有滿滿的感動,直到觀光客改變都蘭。那種永遠都有一群喝酒的朋友,離世界很遠,自成一格的生活模式,好都蘭。...**

online 邀讀者交流;「村上春樹研究センター」、Murakami 村上春樹mania :《日出國的工場》《如果我們的語言是威士忌》把我想成瀕絕動物「1Q84」等也被迫在書店消失 名誉博士《終究悲哀的外國語》Murakami: Imagination leads to 'special room that lies within us'

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


村上春樹センター、台湾の大学に開設

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



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



18年後公開演講受訪 村上春樹:把我想成瀕絕動物

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

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

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


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





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






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


Murakami mania sweeps Japan as new novel is released

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

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

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

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

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




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

迁怒于村上春树的小说

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


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

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

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




编译:叶宣
责编:洪沙


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

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

出版局幹部說明中日關係緊迫,並口頭指示「統一思想、把握方向」。

編緝們表示「參加的人都聽得出來,意思是叫大家不要出版和銷售有關日本的書」。

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

出版局接受朝日採訪時表示,「從來沒有發過什麼通知」。

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

其他的大書店也撤掉了日本小說,店員表示「因為中日關係惡化」。

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




這本書 只剩下這段筆記

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


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

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

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

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



2014.4.2 補我2004年的一小篇

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
























A Sand County Almanac

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Cover for  A Sand County Almanac

A Sand County Almanac

With Other Essays on Conservation from Round River

Second Edition

Aldo Leopold

  • Written with an unparalleled understanding of the ways of nature.
  • This book includes a section on the monthly changes of the Wisconsin countryside; informal pieces written by Leopold over a forty-year period as he traveled through the woodlands of Wisconsin, Iowa, Arizona, Sonora, Oregon, Manitoba, and elsewhere; and a final section in which Leopold addresses the philosophical issues involved in wildlife conservation.




























First published in 1949 and praised in The New York Times Book Review as "a trenchant book, full of vigor and bite," A Sand County Almanac combines some of the finest nature writing since Thoreau with an outspoken and highly ethical regard for America's relationship to the land.

Written with an unparalleled understanding of the ways of nature, the book includes a section on the monthly changes of the Wisconsin countryside; another part that gathers informal pieces written by Leopold over a forty-year period as he traveled through the woodlands of Wisconsin, Iowa, Arizona, Sonora, Oregon, Manitoba, and elsewhere; and a final section in which Leopold addresses the philosophical issues involved in wildlife conservation. As the forerunner of such important books as Annie Dillard's Pilgrim at Tinker Creek, Edward Abbey's Desert Solitaire, and Robert Finch's The Primal Place, this classic work remains as relevant today as it was forty years ago.


Aldo Leopold (1887-1948) began his professional career in 1909 when he joined the U.S. Forest Service. In 1924 he became Associate Director of the Forest Products Laboratory in Madison, Wisconsin, and in 1933 the University of Wisconsin created a chair of game management for him.

「沙地郡曆誌」是張心漪最後一本譯作,1987年出版,她已年過七十。這本A Sand County
Almanac是環保界的經典,後來有另一個譯本「沙郡年記」(台北:天下文化,1998 )。張心漪的丈夫費驊在1984年過世,費驊曾任財政部長,是台灣國家公園的催生者,馬以工以紀念費驊為理由,說動了高齡的張心漪翻譯此書,也因此這是她唯一一本冠夫姓的譯作。


1987年新環境出版社的「沙地郡曆誌」,署名「費張心漪」



A brief history of Charlie Hebdo,

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......2名蒙面槍手闖入位於巴黎市區的總社,以AK-47突擊步槍與火箭筒(RPG)大開殺戒,
至少造成12人遇害、4人重傷,死者之中有2人是警察。
這是法國20年來最嚴重的恐怖攻擊事件。

位於巴黎的《查理週刊》(Charlie Hebdo Officiel)辦公室今天稍早遭到歹徒持槍攻擊造成 12 人死亡、數人受傷的慘劇。《查理週刊》以反諷漫畫聞名,曾面臨侮辱伊斯蘭教的爭議。國際特赦組織法國分會Amnesty International France 秘書長 Stephan Oberreit 說:「對於言論自由與活躍的新聞文化而言,這無疑是黑暗的一天,更是令人震驚的人間悲劇。」

Fight intimidation with controversy: Charlie Hebdo’s response to critics

French magazine has history of defying attempts to curtail freedom of expression; the latest a provocative tweet to Isis chief

Live blog: follow the latest on Paris shootings


Charlie Hebdo’s publisher, Stephane Charbonnier
Charlie Hebdo’s publisher, Stephane Charbonnier, at the magazine’s office in Paris. Photograph: Jacky Naegelen/Reuters
Moments before Charlie Hebdo’s offices were attacked, the magazine’s Twitter handle published a cartoon wishing a happy new year “and particularly good health” to Abu Bakr al-Baghdadi, the leader of Islamic State (Isis).
Its cover this week features Michel Houellebecq’s provocative new novel, Submission, which satirises France under a Muslim president. These are just the latest examples of a publication that responds to efforts at intimidation by being even more irreverent or outrageous, defying the constraints of religious sensitivity or political correctness.
In November 2011, the magazine’s offices were fire-bombed after it published a special edition, supposedly guest-edited by the prophet Muhammad and temporarily renamed “Charia Hebdo”. The cover was a cartoon of Muhammad threatening the readers with “a hundred lashes if you don’t die laughing”.
The petrol bomb attack completely destroyed the Paris offices, the magazine’s website was hacked and staff were subjected to death threats. But that did not deter the magazine, whose editor, Stéphane Charbonnier, has received death threats and lives under police protection.
Six days later, the magazine published a front page depicting a male Charlie Hebdo cartoonist passionately kissing a bearded Muslim man in front of the charred aftermath of the bombing. The headline was: L’Amour plus fort que la haine (Love is stronger than hate).
Less than a year later, the magazine published more cartoons of Muhammad, including images of him naked and a cover showing him being pushed along in a wheelchair by an Orthodox Jew. The French government had appealed to the editors not to go ahead with publication, and shut down embassies, cultural centres and schools in 20 countries out of fear of reprisals when they went ahead anyway.
Riot police were also deployed to the Charlie Hebdo offices to protect it from direct attacks. The foreign minister, Laurent Fabius, publicly criticised the magazine’s actions, asking: “Is it really sensible or intelligent to pour fuel on the fire?”
Gérard Biard, the editor-in-chief, rejected the criticism. “We’re a newspaper that respects French law,” he said “Now, if there’s a law that is different in Kabul or Riyadh, we’re not going to bother ourselves with respecting it.”
The attacks on Charlie Hebdo for its depiction of Muhammad and its consistently defiant response has put the focus on its attitude to Islam in particular, but the magazine’s earlier history reflects a readiness to offend all religions and challenge all taboos.
In 1970, its precursor, Hara-Kiri Hebdo, was banned for publishing a spoof of the reverent French coverage of the death of the former president Charles de Gaulle. To sidestep the ban, the editors renamed the magazine, choosing Charlie Hebdo because there was a monthly comic book in existence called Charlie Mensuel (named in turn after Charlie Brown) and as an irreverent reference to the recently deceased father of the French fifth republic.
The magazine folded in 1981 because of a lack of sales but relaunched in 1992 in its present form.
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A brief history of Charlie Hebdo, the satirical magazine at the centre of today's terror attack in Paris.



French magazine takes satire seriously – defying attempts by critics and...
THEGUARDIAN.COM|由 JULIAN BORGER 上傳

陳寅恪先生著作和關於他的著作

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陳寅恪:在新舊蛻嬗之際,「其賢者拙者,常感受苦痛,終於消滅而後已。其不肖者巧者,則多享受歡樂,往往富貴榮顯,身泰名遂」。



 2012.8     與Ken Su交流 他前周轉送的書

陈寅恪与二十世纪中国学术

陈寅恪与二十世纪中国学术
作者: 胡守为主编
出版社:浙江人民出版社
出版年: 2000-12
页数: 757
定价: 47.

目录  · · · · · ·

前言
一个真正的中国人,一个真正的中国知识分子
向陈先生请罪
“自强不息”、“厚德载物”
――学习陈寅恪先生重视、保卫并发展华夏民族优良传统文化的伟大精神
试述陈寅恪先生对士族等问题的开拓性研究
附言:被“逐出师门”后的汪�先生
陈寅恪的史学思想――对“正统史学”思想的修正
陈寅恪先生与司马温公《资治通鉴》
《隋唐制度渊源略论稿》读后
《隋唐制度渊源略论稿》与西域史研究中的几个问题
心志术业浑然通一
――对陈寅恪先生思想学术的几点认识
陈寅恪与中国近代史研究
先师寅恪先生治学思路与方法之追忆(补充二则)
陈寅恪先生唐史研究中对石刻文献的利用
“文史互证”方法与魏晋南北朝史研究
从传统到现代
――论陈寅恪对传统诗歌解释方法的继承与开拓
指要抉微见功力
――读《陈寅恪读书札记》(旧唐书新唐书之部)
陈寅恪留德时期柏林的汉学与印度学
――关于陈寅恪先生治学道路的若干背景知识
南朝岭南社会阶级的变动
从小说发现历史
――《读莺莺传》的眼界和思路
体悟陈寅恪
关于陈寅恪的“理性”
陈寅恪先生“胡化”、“汉化”说的启示
“借传修史”
――陈寅恪与《柳如是别传》的撰述旨趣
考据史学与人物传记:浅谈陈寅恪先生
《柳如是别传》
《桃花扇传奇》与《柳如是别传》
《柳如是别传》与《清诗纪事初编》
史与诗
――读陈寅恪先生《元白诗笺证稿》、《论再生缘》、《柳如是别传》
论陈寅恪在佛教研究方面的成就及其在学术史上的意义
陈寅恪先生与佛学
陈寅恪的道教史研究论略
神州瑰宝垂示后学
――陈寅恪先生礼制研究浅识
教外何妨有别传
――唐长孺对“义宁之学”的继承和发展
试论陈寅恪教授的诗(词)学思想
云昏雾湿春仍好
――陈寅恪在香港
义宁陈氏家史述略
陈宝箴之死考
陈寅恪晚年思想解读
陈寅恪在康乐园的生活情趣
陈寅恪已刊学术论文全目初稿
《陈寅恪先生编年事辑》(增订本)之增订
陈寅恪的《四声三问》论衡
研究陈寅恪先生之英文著作两种节译并跋
从陈寅恪学术研讨会谈起
“虚席以待”背后
――牛津大学聘任陈寅恪事续论
印欧人的密特拉崇拜
河陇文化与隋唐制度的渊源
陈寅恪与郑天挺
陈寅恪与20世纪中国学术
――纪念陈寅恪教授国际学术研讨会述评2010.12.11

Ken Su 將他讀過的陳寅恪先生年譜長編轉贈給我。


陳寅恪先生年譜長編 (北京:中華 正體字 2010 ) 待讀
《陳寅恪先生年譜長編》等書缺索引,不成書。


以前也翻過另外一本陳寅恪先生年編事輯, 1997

今年初 謝老師送 陳寅恪與傅斯年


風行過 陳寅恪的最後20年


史家陳寅恪傳 (台北: 聯經 1984)
榮祖先生的《史家陳寅恪》(台北聯經,1984) 第一章 "舊時王謝家" (頁1-28)就是陳家三世的家族簡史: "......陳氏一門  三代英才  洵不多見  然而 盛極而衰 更可傷感......憑弔陳氏一家的興亡     何異神州文化的興亡!"






梁啟超陳寅恪風貌再現
  兩大師年譜長編出版
“是哪些因素造就了他們輝煌的一生?他們為清華留下了哪些寶貴的精神遺產?清華國學院教育成功的秘訣何在,我們今天應該如何地繼承和發揚?”在今天(18日)舉行的梁啟超、陳寅恪先生年譜長編出版學術座談會上,這些問題縈繞在每一個與會者腦際。
1925年清華成立研究院國學門,稱清華國學研究院,延聘的梁啟超、王國維、陳寅恪、趙元任曾被稱為四大導師,他們的研究在當時代表了我國國學 研究的最高水平。去年,清華國學研究院重建伊始,即著手對四大導師年譜長編的重整和編纂工作。此次,《梁任公先生年譜長編》與《陳寅恪先生年譜長編》由中 華書局率先出版。《梁任公先生年譜長編》以北圖影印出版本為工作底本,參考了上海人民出版社長編本,並且在此基礎上做了修訂。今年適逢陳寅恪先生誕辰 120週年,《陳寅恪先生年譜長編》的出版,是對先生的最好的紀念。


中華書局總經理李岩介紹說,1936年,中華書局已將《梁任公先生年譜長編》納入出版計劃,並與梁思成簽訂了出版合同。由於對年譜稿的修訂延誤 了出版時間,而次年抗戰全面爆發,此事遂擱淺。梁啟超逝世後,遺稿囑託林宰平編,成《飲冰室合集》;年譜囑託丁文江編,成《梁任公先生年譜長編》。陳寅恪 逝世後,遺稿囑託蔣天樞編,成《陳寅恪文集》;蔣天樞逝世前,將陳寅恪年譜囑託卞僧慧編,成《陳寅恪先生年譜長編》。卞僧慧是陳寅恪先生20世紀30年代 在清華大學時的學生,今年99歲。
清華大學黨委常務副書記陳旭在發言中指出,梁啟超、王國維、陳寅恪和趙元任四位著名導師對於學術自由精神的追求至今仍然激勵著清華學子,從某種 意義來說,已經成為清華大學的校魂。清華大學副校長謝維和認為,兩本年譜長編的問世,在中國近代史,包括中國學術史的研究和發展中是不可替代的,非常有價 值。
梁啟超之子梁思禮回顧了《梁啟超年譜長編》編纂歷程。陳寅恪長女陳流求在發言中說,清華國學院是父親回來報效祖國的第一站,他從這裡開始從事教 學和研究工作,此後一生曾在多所大學任教,可是他最懷念的地方仍然是清華園。因為他在清華園裏度過了他的盛年和精力充沛的日子。
何兆武教授說:“研究四位導師的思想,要關注他們跟當時環境的互動,怎樣的環境觸發了他們的思想,他們的思想又怎樣影響到環境。一個人的思想不會固定在一個地方不變,是與時俱變的,所以我們了解一個人要看他的思想怎樣跟時代一起變化,一起發展。”
清華大學國學院院長陳來,梁啟超先生孫女梁再冰,陳寅恪先生幼女陳美延,知名學者劉桂生、鄭師渠、劉夢溪、劉兵、桑兵、胡守為、李玉梅、夏曉紅、李伯重等參加座談。《陳寅恪最後二十年》作者陸鍵東應邀出席了座談會。
記者 王大慶、莊建

責編:方慶

趙元任的一些傳記
趙元任全集 (部分)


這本書,多年前讓給愛它的蘇錦坤先生。2014.4.29 近傍晚,在臺大文學院撿到另一本,比先前的更"破舊",不過還是很高興,1971年5月出版,定價60元。那時候,我高三,正要聯考.......我高三時,可能從傳記文學等處知道陳先生。

《舊書誌》之九---《陳寅恪先生論集,中央研究院歷史語言研究所特刊之三》,
照片 001
《陳 寅恪先生論集,中央研究院歷史語言研究所特刊之三》,這本 1971 年的書其實夠不上算是「老書」,但是市面上完全沒機會接觸到。到台北新生南路 HC 的「南書房」經常談論陳寅恪先生,我常恨恨地說,以他的多種經典語言的能力、漢語典籍的深度,對跨語言文本對勘研究起步得早,不應該只留下這些論文給後代 而已,他應該在此領域有「開宗立派」、超歐跨日的著作才對,只可惜,佛教典籍研究在中國從來不是主流,對中印文化交通與漢譯佛典對古漢語的影響等研究都還 未成氣候,所以陳先生也無機會在此類問題開天闢地、有所作為。
HC 總是認為,我不該以今日之事來評斷古人的是非,以他們當年的文化環境、學術重心、國事家事、個人的漂泊浮沉,能有這樣的成績已經是破天荒而難能可貴了。


陳寅恪先生論集,中央研究院歷史語言研究所特刊之3,1971。 (1931-48 發表於該所論文)

前言
懷念陳寅恪先生先生 (代序) 俞大維

目錄
(一)專書
《隋唐制度淵源略稿》
《唐代政治史述論稿》
(二) 論文
如下 31篇

陳寅恪- 中央研究院歷史語言研究所

少一篇 已補上


姓 名:陳寅恪
生卒年:1890-1969
經 歷:
中央研究院院士( 1948 )
本所專任研究員兼第一組主任( 1928-1948 )
一、專書
  1. 唐代政治史述論稿,中央研究院歷史語言研究所專刊之20,1943。
  2. 隋唐制度淵源略論稿,中央研究院歷史語言研究所專刊之22,1944。
  3. 陶淵明之思想與清談之關係,北平:燕京大學哈佛燕京社,1945。
  4. 從史實論切韻,北京:北京大學出版部,1948。
  5. 元白詩箋證稿,北京:文學古籍出版社,1955。
  6. 西藏文籍目錄,中央研究院歷史語言研究所單刊甲種之1,未刊。
  7. 陳寅恪先生論集,中央研究院歷史語言研究所特刊之3,1971。
二、論文
  1. 大乘義章書後,《中央研究院歷史語言研究所集刊》1.2(1930):121-124。
  2. 靈州寧夏榆林三城譯名攷,《中央研究院歷史語言研究所集刊》1.2(1930):125-130。
  3. 敦煌劫餘錄序,《中央研究院歷史語言研究所集刊》1.2(1930):231-232。
  4. 吐蕃彝泰贊普名號年代考(蒙古源流研究之二),《中央研究院歷史語言研究所集刊》2.1(1930):1-5。
  5. 敦煌本維摩詰經文殊師利問疾品演義跋,《中央研究院歷史語言研究所集刊》2.1(1930):6-10。
  6. 西遊記玄奘弟子故事之演變,《中央研究院歷史語言研究所集刊》2.2(1930):157-160。
  7. 幾何原本滿文譯本跋,《中央研究院歷史語言研究所集刊》2.3(1931):281-282。
  8. 彰所知論與蒙古源流(蒙古源流研究之二),《中央研究院歷史語言研究所集刊》2.3(1931):302-309。
  9. 蒙古源流作者世系攷(蒙古源流研究之四),《中央研究院歷史語言研究所集刊》2.3(1931):310-311。
  10. 西夏文佛母孔雀明王經考釋序,《中央研究院歷史語言研究所集刊》2.4(1931):404-405。
  11. 李唐氏族之推測,《中央研究院歷史語言研究所集刊》3.1(1931):39-48。
  12. 南嶽大師立誓願文跋,《中央研究院歷史語言研究所集刊》3.3(1932):309-312。
  13. (西夏文)佛母大孔雀明王經夏梵藏漢合璧校釋序,《西夏研究》第一輯,中央研究院歷史語言研究所單刊甲種之8,1932。
  14. 斯坦因 Khara Khoto 所獲西下文大般若經考
  15. 天師道與濱海地域之關係,《中央研究院歷史語言研究所集刊》3.4(1932):439-466。
  16. 李唐氏族之推測後記,《中央研究院歷史語言研究所集刊》3.4(1932):511-516。
  17. 武曌與佛教,《中央研究院歷史語言研究所集刊》5.2(1935):137-148。
  18. 李德裕貶死年月及歸葬傳說考辨,《中央研究院歷史語言研究所集刊》5.2(1935):149-174。
  19. 三論李唐氏族問題,《中央研究院歷史語言研究所集刊》5.2(1935):175-178。
  20. 李唐武周先世事蹟雜攷,《中央研究院歷史語言研究所集刊》6.4(1936):533-556。
  21. 東晉南朝之吳語,《中央研究院歷史語言研究所集刊》7.1(1936):1-4。
  22. 府兵制前期史料試釋,《中央研究院歷史語言研究所集刊》7.3(1937):275-286。
  23. 劉復愚遺文中年月及其不祀祖問題,《中央研究院歷史語言研究所集刊》8.1(1939):1-14。
  24. 敦煌石室寫經題記彙編序,《中央研究院歷史語言研究所集刊》8.1(1939):15-18。
  25. 敦煌本心王投陀經及法句經跋尾,《中央研究院歷史語言研究所集刊》8.1(1939):19-20。
  26. 讀洛陽伽藍記書後,《中央研究院歷史語言研究所集刊》8.2(1939):149-152。
  27. 讀東城老父傳,《中央研究院歷史語言研究所集刊》10(1942):183-188。
  28. 讀鶯鶯傳,《中央研究院歷史語言研究所集刊》10(1942):189-195。
  29. 魏書司馬叡傳江東民族條釋證及推論,《中央研究院歷史語言研究所集刊》11(1943):1-25。
  30. 支愍度學說考,《慶祝蔡元培先生六十五歲論文集》上冊,中央研究院歷史語言研究所集刊外編第一種,1943,頁1-18。
  31. 元微之悼亡詩及豔詩箋證,《中央研究院歷史語言研究所集刊》20上(1948):1-18。


金明館叢稿二編



陳 寅恪(一八九○——一九六九),江西修水人。早年留學日本及歐美,先後就讀於德國柏林大學、瑞士蘇黎世大學、法國巴黎高等政治學校和美國哈佛大學。一九 二五年受聘清華學校研究院導師,回國任教。後任清華大學中文、歷史系合聘教授,兼任中央研究院理事、歷史語言研究所研究員、第一組主任及故宮博物院理事 等,其後當選為中央研究院院士。一九三七年蘆溝橋事變後挈全家離北平南行,先後任教於西南聯合大學、香港大學、廣西大學和燕京大學。一九三九年被選為 英國皇家學會通訊院士。一九四二年後為教育部聘任教授。一九四六年回清華大學任教。一九四八年南遷廣州,任嶺南大學教授,一九五二年後為中山大學教授。一 九五五年後並為中國科學院哲學社會科學學部委員。陳寅恪集十三種十四冊,收入了現在所能找到的作者全部著述。其中寒柳堂集、金明館叢稿初編、金明館叢稿二 編、隋唐制度淵源略論稿、唐代政治史述論稿、元白詩箋證稿、柳如是別傳七種,八十年代曾由上海古籍出版社出版。此次出版以上海古籍版為底本(隋唐制度淵源 略論稿、唐代政治史述論稿二書原據三聯書店一九五七年版重印),內容基本不變。惟寒柳堂集增補了寒柳堂記夢未定稿(補)一文。詩集(原名陳寅恪詩集附 唐詩存)和讀書劄記一集(原名陳寅恪讀書劄記舊唐書新唐書之部)八九十年代分別由清華大學出版社和上海古籍出版社出版,此次出版均有增補。書信集、讀書劄 記二集、讀書劄記三集、講義及雜稿四種均為新輯。全書編輯體例如下︰一、所收內容,已發表的均保持發表時的原貌。經作者修改過的論著,則採用最後的修改 本。未刊稿主要依據作者手跡錄出。二、本集所收已刊、未刊著述均予校訂,凡體例不一或訛脫倒衍文字皆作改正。引文一般依現行點校本校核,如二十四史、資治 通鑒等。尚無點校本行世的史籍史料,大多依通行本校核。少量作者批語、論述系針對原版本而來,則引文原貌酌情予以保留。以上改動均不出校記。三、凡已刊論 文、序跋、書信等均附初次發表之刊物及時間,未刊文槁盡量注明寫作時間。四、根據作者生前願望,全書採用繁體字發排。人名、地名、書名均不加符號注明。一 般採用通行字,保留少數體字。引文中凡為閱讀之便而補入被略去的內容時,補入文字加﹝﹞,凡屬作者說明性文字則加()。原稿不易辨識的文字以示之。陳寅 恪集的出版曾得到季羨林、週一良、李慎之先生的指點,並獲得海內外學術文化界人士的熱情相助。在此,謹向所有關心、支持和參與了此項工作的朋友表示衷心的 感謝,並誠懇地希望廣大讀者批評指正。

陳寅恪(一八九○——一九六九),江西修水人。早年留學日 本及歐美,先後就讀於德國柏林大學、瑞士蘇黎世大學、法國巴黎高等政治學校和美國哈佛大學。一九 二五年受聘清華學校研究院導師,回國任教。後任清華大學中文、歷史系合聘教授,兼任中央研究院理事、歷史語言研究所研究員、第一組主任及故宮博物院理事 等,其後當選為中央研究院院士。一九三七年蘆溝橋事變後挈全家離北平南行,先後任教於西南聯合大學、香港大學、廣西大學和燕京大學。一九三九年被選為 英國皇家學會通訊院士。一九四二年後為教育部聘任教授。一九四六年回清華大學任教。一九四八年南遷廣州,任嶺南大學教授,一九五二年後為中山大學教授。一 九五五年後並為中國科學院哲學社會科學學部委員。
陳寅恪集十三種十四冊,收入了現在所能找到的作者全部著述。其中寒柳堂集、金明館叢稿 初編、金明館叢稿二編、隋唐制度淵源略論稿、唐代政治史述論稿、元白 詩箋證稿、柳如是別傳七種,八十年代曾由上海古籍出版社出版。此次出版以上海古籍版為底本(隋唐制度淵源略論稿、唐代政治史述論稿二書原據三聯書店一九五 七年版重印),內容基本不變。惟寒柳堂集增補了寒柳堂記夢未定稿(補)一文。詩集(原名陳寅恪詩集附唐篔詩存)和讀書劄記一集(原名陳寅恪讀書劄記舊 唐書新唐書之部)八九十年代分別由清華大學出版社和上海古籍出版社出版,此次出版均有增補。書信集、讀書劄記二集、讀書劄記三集、講義及雜稿四種均為新 輯。全書編輯體例如下:

一、所收內容,已發表的均保持發表時的原貌。經作者修改過的論著,則採用最後的修改本。未刊稿主要依據作者手跡錄出。

二、本集所收已刊、未刊著述均予校訂,凡體例不一或訛脫倒衍文字皆作改正。引文一般依現行點校本校核,如二十四史、資治通鑒等。尚無點校本行世的史籍史料,大多依通行本校核。少量作者批語、論述系針對原版本而來,則引文原貌酌情予以保留。以上改動均不出校記。

三、凡已刊論文、序跋、書信等均附初次發表之刊物及時間,未刊文槁儘量注明寫作時間。

四、根據作者生前願望,全書採用繁體字發排。人名、地名、書名均不加符號注明。一般採用通行字,保留少數異體字。引文中凡為閱讀之便而補入被略去的內容時,補入文字加〔〕,凡屬作者說明性文字則加()。原稿不易辨識的文字以示之。

陳寅恪集的出版曾得到季羨林、週一良、李慎之先生的指點,並獲得海內外學術文化界人士的熱情相助。在此,謹向所有關心、支援和參與了此項工作的朋友表示衷心的感謝,並誠懇地希望廣大讀者批評指正。

生活·讀書·新知三聯書店二○○○年十二月


1.目錄
論李棲筠自趙徙衛事
李德裕貶死年月及歸葬傳說辨證
以杜詩證唐史所謂雜種胡之義
書杜少陵哀王孫詩後
元白詩中俸料錢問題
順宗實錄與續玄怪錄
魏志司馬芝傳跋
逍遙游向郭義及支遁義探源
元代漢人譯名考
幾何原本滿文譯本跋
吐蕃彝泰贊普名號年代考(蒙古源流研究之一)
靈州寧夏榆林三城譯名考(蒙古源流研究之二)
彰所知論與蒙古源流(蒙古源流研究之三)
蒙古源流作者世系考(蒙古源流研究之四)
高鴻中明清和議條陳殘本跋
梁譯大乘起信論偽智愷序中之真史料
?與佛教
讀洛陽伽藍記書後
大乘義章書後
禪宗六祖傳法偈之分析
有相夫人生天因緣曲跋
須達起精舍因緣曲跋
敦煌本唐梵翻對字音 般若波羅蜜多心經跋
敦煌本心王投陀經及法句經跋尾
敦煌本維摩詰經文殊師利問疾品演義跋
斯坦因KharaKhoto所獲西夏文大般若經考
西遊記玄奘弟子故事之深變
西夏文佛母大孔雀明王經夏梵藏漢合璧校釋序
敦煌石室寫經題記彙編序
童受喻?論梵文殘本跋
南嶽大師立誓願文跋
清華大學王觀堂先生紀念碑銘王靜安先生遺書序 ......









陳寅恪先生的寫法有些可以改進處
譬如說要引亞理斯多德的悲劇論的話
必須將它簡單地說出其精華而非只引說 "釀成"是與亞氏說法契合等等
Tragedy is the “imitation of an action” (mimesis) according to “the law of probability or necessity.”

Outline of Aristotle's Theory of Tragedy

****翻翻 陳寅恪先生遺著《柳如是別傳
第三章 河东君与“吴江故相”及“云间孝廉”之关系
可知 "杭之" (出自詩經) 也是昔日嘉定某風流世家子....

目录












寅恪:馮友蘭《中國哲學史》上、下冊審查報告 

馮友蘭《中國哲學史》上冊審查報告
作者:陳寅恪
竊查此書,取材謹嚴,持論精確,允宜列入清華叢書,以貢獻於學界。茲將其優點概括言之:凡著中國古代哲學史者,其對於古人之學說,應具瞭解之同情,方可下筆.蓋古人著書立說,皆有所爲而發;故其所處之環境,所受之背景,非完全明瞭,則其學說不易評論。而古代哲學家去今數千年,其時代之真相,極難推知。吾人今日可依據之材料,僅當時所遺存最小之一部;欲藉此殘餘斷片,以窺測其全部結構,必須備藝術家欣賞古代繪畫雕刻之眼光及精神,然後古人立說之用意與物件,始可以真瞭解。所謂真瞭解者,必神遊冥想,與立說之古人,處於同一境界,而對於其持論所以不得不如是之苦心孤詣,表一種之同情,始能批評其學說之是非得失,而無隔閡膚廓之論。否則數千年前之陳言舊說,與今日之情勢迥殊,何一不可以可笑可怪目之乎?但此種同情之態度,最易流于穿鑿附會之惡習;因今日所得見之古代材料,或散佚而僅存,或晦澀而難解,非經過解釋及排比之程式,絕無哲學史之可言。然若加以聯貫綜合之搜集,及統系條理之整理,則著者有意無意之間,往往依其自身所遭際之時代,所居處之環境,所熏染之學說,以推測解釋古人之意志。由此之故,今日之談中國古代哲學者,大抵即談其今日自身之哲學者也;所著之中國哲學史者,即其今日自身之哲學史者也。其言論愈有條理統系,則去古人學說之真相愈遠;此弊至今日之談墨學而極矣。今日之墨學者,任何古書古字,絕無依據,亦可隨其一時偶然興會,而爲之改移,幾若善博者能呼盧成盧,喝雉成雉之比;此近日中國號稱整理國故之普通狀況,誠可爲長歎息者也。今欲求一中國古代哲學史,能矯傅會之惡習,而具瞭解之同情者,則馮君此作庶幾近之;所以宜加以表揚,爲之流布者,其理由實在於是。至於馮君之書,其取用材料,亦具通識,請略言之:以中國今日之考据學,已足辨別古書之真僞;然真僞者,不過相對問題,而最要在能審定僞材料之時代及作者而利用之。蓋僞材料亦有時與真材料同一可貴.如某種僞材料,若逕認爲其所依託之時代及作者之真産物,固不可也;但能考出其作僞時代及作者,即據以說明此時代及作者之思想,則變爲一真材料矣。中國古代史之材料,如儒家及諸子等經典,皆非一時代一作者之産物。昔人籠統認爲一人一時之作,其誤固不俟論。今人能知其非一人一時之所作,而不知以縱貫之眼光,視爲一種學術之叢書,或一宗傳燈之語錄,而齗齗致辯於其橫切方面,此亦缺乏史學之通識所致。而馮君之書,獨能於此別具特識,利用材料,此亦應爲表彰者也。若推此意而及于中國之史學,則史論者,治史者皆認爲無關史學而且有害者也;然史論之作者,或有意或無意,其發爲言論之時,即已印入作者及其時代之環境背景,實無異於今日新聞紙之社論時評,若善用之,皆有助於考史。故蘇子瞻之史論,北宋之政論也;胡致堂之史論,南宋之政論也;王船山之史論,明末之政論也。今日取諸人論史之文,與舊史互證,當日政治社會情勢,益可藉此增加瞭解,此所謂廢物利用,蓋不僅能供習文者之摹擬練習而已也。若更推論及於文藝批評,如紀曉嵐之批評古人詩集,輒加塗抹,詆爲不通,初怪其何以狂妄至是。後讀清高宗禦制詩集,頗疑其有所爲而發;此事固難證明,或亦間接與時代性有關,斯又利用材料之別一例也。寅恪承命審查馮君之書,謹具報告書,並附著推論之余義於後,以求教正焉。

  六月十一日

馮友蘭《中國哲學史》下冊審查報告

作者:陳寅恪

  此書上卷寅恪曾任審查。認爲取材精審,持論正確.自刊佈以來,評論贊許,以爲實近年吾國思想史之有數著作,而信寅恪前言之非阿私所好。今此書繼續完成,體例宗旨,仍複與前卷「冊」一貫。允宜速行刊佈,以滿足已讀前卷「冊」者之希望,而使《清華叢書》中得一美備之著作。是否有當,尚乞鑒定是幸!寅恪於審查此書之餘,並略述所感,以求教正。

  佛教經典言:“佛爲一大事因緣出現於世。”中國自秦以後,迄於今日,其思想之演變歷程,至繁至久。要之,只爲一大事因緣,即新儒學之産生,及其傳衍而已。此書于朱子之學多所發明。昔閻百詩在清初以辨僞觀念、陳蘭甫在清季以考據觀念,而治朱子之學,皆有所創獲.今此書作者取西洋哲學觀念,以闡明紫陽之學,宜其成系統而多新解。然新儒家之産生,關於道教之方面,如新安之學說,其所受影響甚深且遠.自來述之者皆無愜意之作。近日當盤大定推論儒道之關係,所說甚繁,(《東洋文庫本》)仍多未能解決之問題.蓋道藏之秘笈,迄今無專治之人,而晉、南北朝、隋、唐、五代數百年間,道教變遷傳衍之始末,及其與儒佛二家互相關係之事實,尚有待於研究。此則吾國思想史上前修所遺之缺憾,更有俟於後賢追補者也。南北朝時即有儒釋道三教之目;(北周衛元嵩撰《齊三教論》七卷「。」見《舊唐書?「肆柒」經籍志「下」》)至李唐之世,遂成固定之制度。如國家有慶典,則召集三教之學士「,」講論于殿廷,是其一例。故自晉至今,言中國之思想,可以儒釋道三教代表之。此雖通俗之談,然稽之舊史之事實,驗以今世之人情,則三教之說,要爲不易之論。儒者在古代本爲典章學術所寄託之專家。李斯受荀卿之學,佐成秦治。秦之法制實儒家一派學說之所附系「擊」。《中庸》之“車同軌,書同文,行同倫”,(即太史公所謂:“至始皇乃能並冠帶之倫”之倫)爲儒家理想之制度,而于秦始皇之身而得以實現之也。漢承秦業,其官制法律亦襲用前朝。遺傳至晉以後,法律與禮經並稱,儒家《周官》之學說悉采「採」入法典。夫政治社會一切公私行動莫不與法典相關,而法典爲儒家學說具體之實現.故二千年來華夏民族所受儒家學說之影響最深最巨「鉅」者,實在制度法律公私生活之方面;而關於學說思想之方面,或轉有不如佛道二教者。如六朝士大夫號稱曠達,而夷考其實,往往篤孝義之行,嚴家諱之禁,此皆儒家之教訓,固無預於佛老之玄風者也。釋迦之教義,無父無君,與吾國傳統之學說,存在之制度無一不相衝突。輸入之後,若久不變易「,」則決難保持。是以佛教學說能于「於」吾國思想史上「,」發生重大久長之影響者,皆經國人吸收改造之過程。其忠實輸入不改本來面目者,若玄奘唯識之學,雖震蕩「動」一時之人心,而卒歸於消沈歇絕.近雖有人焉,欲燃「然」其死灰;疑終不能複「復」振,「。」其故匪他,以性質與環境互相方圓鑿枘,勢不得不然也。六朝以後之道教,包羅至廣,演變至繁。不以儒教之偏重政治社會制度,故思想上尤易融貫吸收。凡新儒家之學說,似無不有道教或與道教有關之佛教爲之先導。如天臺「台」宗者,佛教宗派中道教意義最富之一宗也。(其創造者慧思所作誓願文,最足表現其思想。至於北宋真宗時「,」日本傳來之《大乘止觀法門》一書,乃依據《大乘起信論》者。恐系華嚴宗盛後,天臺「台」宗僞託南嶽而作。故此書只可認爲天臺「台」宗後來受華嚴宗影響之史料,而不能據以論南嶽之思想也。)其宗徒梁敬之與李習之之關係,實啓新儒家開創之動機.北宋之智圓提倡《中庸》,甚至以僧徒而號中庸子,並自爲傳以述其義.(孤山((閒居編))其年代猶在司馬君實作《中庸廣義》之前。(孤山卒于宋真宗乾興元年,年四十七)似亦于宋代新儒家爲先覺.二者之間「,」其關係如何,且不詳論。然舉此一例,已足見新儒家産生之問題,猶有未發之覆在也。至道教對輸入之思想,如佛教摩尼教等,無不儘量吸收。然仍不忘其本來民族之地位。既融成一家之說以後,則堅持夷夏之論,以排斥外來之教義.此種思想上之態度,自六朝時亦已如此。雖似相反,而實足以相成。從來新儒家即繼承此種遺業而能大成者。竊疑中國自今日以後,即使能忠實輸入北美或東歐之思想,其結局當亦等於玄奘唯識之學,在吾國思想史上既不能居最高之地位,且亦終歸於歇絕者。其真能于思想上自成系統,有所創獲者,必須一方面吸收輸入外來之學說,一方面不忘本來民族之地位。此二種相反而適相成之態度,乃道教之真精神,新儒家之舊途徑,而二千年吾民族與他民族思想接觸史之所詔「昭」示者也。寅恪平生爲不古不今之學,思想囿于咸豐同治之世,議論近乎(曾)「」湘鄉(張)「」南皮之間,承審查此書,草此報告,陳述所見,殆所謂“以新瓶而裝舊酒”者。誠知舊酒味酸「,」而「人」莫肯售「酤」,姑注于「於」新瓶之底,以求一嘗,可乎?













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陳寅恪晚年詩文釋證
陳寅恪研究因緣記:《陳寅恪晚年詩文釋證》增訂本書成自述
2009年12月08日 20:13鳳凰網讀書綜合
陳寅恪晚年在中山大學的居所
(本文有刪節)
《陳寅恪晚年詩文釋證》在我個人的生命史中具有非常獨特的意義。現在第三次增訂刊行,我想略述書成的經過,並對先後關心過它的朋友——包括相識與不相識的--表示我的感謝。
首先我要說明,我從來沒有過研究陳寅恪的打算,這本書從萌芽到成長都是意外。而且除了1958年刊佈的“陳寅恪先生論再生緣書後”第一篇文字外,其餘都不是我主動撰寫的,而是由各種客觀因緣逼出來的。所以我想先交代一下我為什麼會寫“書後”這篇文字。
江湖寥落爾安歸
我 在書中已說過,1958年秋天我在哈佛大學偶然讀到《論再生緣》的油印稿本,引起精神上極大的震蕩。現在我願意補充一點,即這一精神震蕩和我自己當時的處 境很有關係。那時我在美國的法律身份是所謂的“無國籍之人(a stateless person)”,因為我未持有任何國家頒發的“護照”。最初我對此並不十分在意,因為我一向認為沒有“國籍”並不能阻止我在文化上仍然做一個“中國 人”。但終一夕之力細讀《論再生緣》之後,我不禁深為其中所流露的無限沉哀所激動。這首為中國文化而寫的輓歌,在以後幾天之中都縈回在我的胸際,揮之不 去。
我 在香港住了五、六年,對於當時大陸上摧殘文化、侮辱知識分子的種種報道,早已耳熟能詳。但在那個冷戰高潮的時期,報章上的文字都無可避免地受到政治意識的 侵蝕。我平時讀這些文字,終不能無所存疑。《論再生緣》是我第一次聽到的直接來自大陸內部的聲音,而發言的人則是我完全可以信任的陳寅恪。他一生與政治毫 無牽涉,但就其為中國文化所化而言,則可以說是王國維以來一人而已。《論再生緣》中並無一語及于現實,然而弦外之音,清晰可聞:中國文化的基本價值正在迅 速地隨風逝去。
顧 亭林曾有亡國與亡天下之辨,用現代的話說,即是國家與文化之間的區別。我已失去國家,現在又知道即將失去文化,這是我讀《論再生緣》所觸發的一種最深刻的 失落感。“天末同雲黯四垂,失行孤雁逆風飛,江湖寥落爾安歸!”王國維這幾句詞恰好是我當時心情的寫照。“亡天下”的惶恐也牽動了“亡國”的實感。一個 “無國籍之人”想要在自己的文化中安身立命似乎只是一種幻覺。
說 到這裡,我不能不順便解釋一下:我怎麼會變成了“無國籍之人”?1955年春天哈佛燕京學社接受了新亞書院的推薦,讓我到哈佛大學訪問一年。但從3月到9 月,台灣國民黨政府一直拒絕發給我“中華民國護照”。據說這是因為我在香港刊物上寫過不少提倡民主、自由的文字,屬於所謂“第三勢力”。錢賓四師雖曾出面 說明我其實只是新亞書院一名“助教”,但仍未發生效力。最後由於友人介紹,得到亞洲協會(Asian Foundation)駐港代表艾維(James Ivy)先生的說項,美國領事館允許我到律師事務所取得一種臨時旅行文書(“affidavit in lieu ofpassport”),以“無國籍之人”的身份發給簽證。所以我一直遲至10月初才抵達哈佛大學,已在開學兩個星期之後了。
我 提起這一段往事並不表示我今天對此還耿耿於懷,而是因為敘事中無法省略。在……現代中國,“護照”不是公民的權利,而是政府控制人民的手段,原是一種常 態。而且事後來看,我早年沒有“國家”,因此思想也不受“國家”的限制,其中得失正未易言。不過當時“無國籍之人”的法律身份確曾使我每年受美國移民局的 困擾,他們很難決定是不是應該延長我的居留權。這個身份在五、六十年代的美國好象是很少見的。
現 在回想,當年“亡國”而兼“亡天下”的奇異感受也許正是使我讀《論再生緣》而能別有會心的重要背景。無論如何,這個背景和《論再生緣》中所謂“家國興亡哀 痛之情感”是恰好能夠交融的。我情不自禁地寫下那篇“書後”,並將《論再生緣》稿本寄交香港友聯出版社刊行,其根本動力也出於我個人所經歷的一種深刻的文 化危機感。
但 是我的認同危機不久便經過自我調整而化解了。此後我漸漸淡忘了這篇“書後”,更不曾動過研究陳寅恪的念頭。1970年初,陳寅恪的死訊初傳到海外,一時掀 起了悼念的熱潮。這年3月俞大維“懷念陳寅恪先生”一文對學術界的影響尤大。連向來不大寫通俗文字的楊蓮生師也寫了一篇“陳寅恪先生隋唐史第一講筆記引 言”。楊先生撰文的那天晚上還打電話要我代查所引《資治通鑒》中的一段文字。俞大維先生當時希望在哈佛的中國學人都能以文字參加紀念,所以我也收到了他的 文章的單行本;楊先生更鼓勵我加入紀念的行列。但我自問既未曾受教于陳寅恪,又無新資料可憑,更不想重復十幾年前在“書後”中說過的話,所以始終未著一 字。甚至我也沒有接受楊先生的建議,把“書後”寄給《談陳寅恪》一書的台北編輯委員會。在整個悼念期間,我一直保持緘默,因為借題發揮不但毫無意義,而且 是對死者的大不敬。

代下注角 發皇心曲
再 度提筆寫陳寅恪是1982年底,上距“書後”已整整二十四年之久。這次完全是出於偶然,而且不是由我主動的。其時陳寅恪的《柳如是別傳》、《寒柳堂集》等 已出版了一年多,我也曾反覆讀過多次,只是為了想進一步了解他晚年的史學取向,但毫無見獵心喜、以他本人為研究對象之意。理由很簡單:我的專業是十八世紀 以前的中國史,不是現代史,根本不可能有時間去研究陳寅恪的“晚年遭遇”。我細讀《柳如是別傳》主要還是為了研究明遺民的政治動向。1972年我出版了 《方以智晚節考》一部專題研究,指出方氏逃禪以後並未真與政治絕緣,最後自沉于惶恐灘。八十年代初大陸上有幾位學人專就此一斷案和我爭論,文字往復不少。 《柳如是別傳》所研究的恰好是同一時代、同一范圍,我曾在其中找到不少可以助證我的論點的材料。
1982 年友人金恒煒先生旅居美國,主編《中國時報》(人間副刊)。我們偶爾見面,也曾談到陳寅恪和他的晚年著作。恒煒對我的一些看法極感興趣,一再慫恿我把這些 意見正式寫出來,“人間副刊”願意為我提供發表的園地,而且篇幅不加限制。我經不起他的盛情鼓舞,終於寫出了那篇惹禍的長文——“陳寅恪的學術精神和晚年 心境”。當時董橋先生主編香港的《明報月刊》,對我的文字也有偏好,要求同時刊出此文,這才流入了中國大陸。
生 平文字闖禍,事已多有,而未有甚於此者,尚在《紅樓夢》爭議之上。但我有自知之明,並不是這篇文字涵有特別的價值或特別的荒謬,而是由於其中道破了一些歷 史疑點,為人人心中所已有,適逢其時,竟釀成一大公案,至今未了。這正應了陳寅恪“人事終變,天道能還”的預言。現在我必須趁增訂本出版的機會向金恒煒和 董橋兩位老朋友致最誠摯的謝意。無論是功是罪,他們兩位恐怕都不能不和我共同承當。
今 天我們已確知寅恪先生當年是熟悉我的“書後”的內容的。那麼他自己究竟有過什麼樣的反應?答案在十年前便已揭曉了。現在我既已決心告別陳寅恪研究,經過再 三的考慮,我認為不應該再繼續讓這一重要的事實埋沒下去。1987年10月25日香港大學的李玉梅博士寫了一封信給我,茲摘抄其中最有關係的部分于下:
“晚正研究史家陳寅恪,因于八月下旬結識陳老二女兒陳小彭、林啟漢夫婦,暢談陳老事,至為投契。小彭夫婦于1954年調返中山大學,據稱此乃周恩來之意,好便照顧陳老云云。今則居港七、八年矣。
于 細讀教授有關陳老大作後,小彭命我告知 教授數事如下:(一)陳老當年于讀過 教授‘陳寅恪論再生緣書後’一文後,曾說:‘作者知我’。(二)教授《釋證》第70頁(按:此指1986年新版)有‘陳先生是否真有一枝雲南藤杖’之疑, 答案是肯定的。(三)陳老夫婦確曾有為去留而爭執之事。
小彭夫婦對教授之注陳老思想,能得其精神,深覺大慰,特命余來信告之。”
我 還清楚地記得,我當時讀到寅恪先生“作者知我”四字的評語,心中的感動真是莫可言宣。我覺得無論我化多少工夫為他“代下注腳,發皇心曲”,無論我因此遭到 多少誣毀和攻訐,有此一語,我所獲得的酬報都已遠遠超過我所付出的代價了。這次增訂版加寫了“儒學實踐”和“史學三變”兩篇研究性的長文,也是為了想對得 住寅恪先生“作者知我”這句評語。
但 是當時我的”晚年心境”、“詩文釋證”都在遭受質疑的階段。如果我用任何方式公開了這封信的內容,都等於拖人下水,硬把陳小彭女士和李玉梅博士劃入我這一 邊,也許因此給她們製造意想不到的困擾。那便適成其為“以怨報德”了。此信“留中不發”(一笑)至十年之久,其故端在於是。
小 彭女士長期侍奉老父于側,吳宓《日記》1961年9月1日條還有“小彭攙扶盲目之寅恪兄至,如昔之Antigone”的記載。(《吳宓與陳寅恪》,第 145頁) 我讀了十分感動。我相信她一定願意寅恪先生晚年的一言一行都留在歷史紀錄上,否則她便不會鄭重託人向我傳話了。李玉梅博士也早已治學有成,我最近讀到了她 “柳如是別傳與詮釋學”一文,發表在《柳如是別傳與國學研究》(1996)上面。現在事過境遷,當年的種種顧慮早已不復存在,如果我再不公開此信,則未免 埋沒了小彭女士的苦心和孝思。小彭女士和我從無一面之雅,但她當年遠道傳其父語,曾對我發生了極大的鼓舞作用,至今感念不忘。所以我寧可不避自炫之嫌,也 要坦白說明:寅恪先生“作者知我”一語是本書增訂版問世的一個最重要的原動力。

陳寅恪的“晚年心境”

……

40年前我在“書後”中早已指出,陳寅恪對極權統治是深惡痛絕的。任何人對他的價值意識稍有所知,都必然會得到同樣的論斷。無論就個人或民族言,他都以持“獨立之精神,自由之思想”為最高的原則。

……

大 陸官方學術界和我的爭執,主要便集中在這個觀點上面。他們加給我的“帽子”和“標簽”一直未收回,但持以駁斥我的具體說法,則因時勢的推移而屢有變易。 1978年廣州《學術研究》復刊號說,陳寅恪“曾多次表示對毛主席和共產黨的感激”。1985年胡喬木的寫手“馮衣北”已不得不稍稍降低調門,改說陳寅恪 在1950年的詩中表達了“不意共產黨待我如此之厚”的意思。1995年《陳寅恪的最後二十年》出版了,這似乎表示官方也不想或無法再阻止陳寅恪“晚年遭 遇”的問題曝光了,至少它已默認了陳寅恪在中共統治下受盡踐踏和侮弄這一事實。
但 在這一事實的基礎上卻出現了下面這個新論說:不錯,陳寅恪最後20年確實遭遇了一波接一波的苦難,並終於“迫害至死”(《最後二十年》,第27頁);然而 政治是俗人之事,對於高雅出塵的陳寅恪來說,卻是無足輕重的,陳寅恪對中國文化是那樣地一往情深,他最後20年的生命已完全託付了給它,一切著述也都是為 了闡發它的最深刻的涵義;不但如此,他的文化癡情又和他的土地苦戀是那樣緊密地連成一體,以至他無論怎樣也不肯“去父母之邦”,所以1949年他在人生旅 途中已作出了最有智慧的抉擇,即使他在當時能預知以下二十年的一切遭遇,他的決定也不會兩樣;為了文化,他“雖九死其猶未悔”,中國文化傳統中過去曾有一 條絕對的“孝道”原理,叫做“天下無不是的父母”,陳寅恪則創造性地發展了這一絕對原理,使之成為“天下無不是的父母之邦”;陳寅恪這位超群絕倫的文化大 師的全部偉大便在這裡,所以今天談陳寅恪絕不應再涉及政治,因為一說到政治,便會害得他在九泉之下仍不能安穩;怎麼談陳寅恪呢?我們只需反覆不斷地說:文 化、文化、文化……。
以 上可以算是今天大陸上為了消解陳寅恪“最後二十年”而發展出來的最新論說的一個基本模型。這個模型自然是由我模擬而成,不能指實為某一個人或某一部著作的 特有觀點。而且在模擬的過程中,我把一些緊要的潛臺詞也點破了。用西方學術界的術語說,這是建立一個“理想型”(“ideal type”);這種“理想型”是為分析和討論的便利而設,在方法論上是必要的。就我閱覽所及,上面所擬的論說模型,可以適用於近來大陸上許多關於陳寅恪的 討論文字。我絕不敢說,上面試建的“理想型”已達到了恰如其分的地步,因此我歡迎別人肯加以指摘和改進。但是我相信,以整體的意向而言,它大概可以說是雖 不中亦不甚遠。
這 一套最新的論說即使不是完全針對著我的《詩文釋證》一書而發,意中也必有我所提出的“晚年心境”在,這是毫無可疑的。冷眼旁觀的人也已經看出了這一點(見 程兆奇“也談陳寅恪”,《中國研究》,1996年4月號,第50-57頁)。那麼對於當前這一具有典型意義的新論說,我究竟應該怎樣看待呢?
政治與文化
這裡既不可能、也無必要對它作系統而全面的回應。但是我願意指出它的幾點特色:
第 一,上面所擬的模型可以使我們更清楚地看出,這一新論說其實是企圖提出另一種“陳寅恪的晚年心境”來取代我的看法。但持論者似乎完全沒有意識到這是一個十 分嚴肅的史學工作——重建陳寅恪晚年的生活和思想世界。歷史重建的最低限度的要求,是通過文獻研究所得到的證據(evidence)和經過謹嚴推理所建立 的論辯(argument),兩者缺一不可。相反地,他們好象是陳寅恪親自授權的發言人,可以隨時隨處告訴讀者陳寅恪晚年在一切問題上是怎樣思考、怎樣判 斷、怎樣感受的。他們不但對一個歷史人物的內心隱曲暢所欲言,而且出之以如數家珍的方式。他們似乎假定讀者都像天真無知的兒童聽成人講故事或神話一樣,一 個個張開嘴巴、睜大眼睛,完全信以為真,絕不會發生半點疑問。
第 二,新論說的另一個特色是把政權隱藏在中國大陸這塊土地的後面來加以維護。這是對於“投鼠忌器”的普遍心理的一種巧妙運用。“感謝共產黨”、“共產黨待我 如此之厚”之類的話,當然消失了。甚至黨內的“極左派”和“文化大革命的瘋狂”曾對陳寅恪造成嚴重傷害,現在也不妨直認不諱,因為這早已是公開的秘密。何 況“社會主義初級階段”正迫切需要對“極左”和“史無前例”展開猛烈的批判?
陳 寅恪與中共政權“認同”的問題今天自然已無從談起,而且也失去了政治上的重要性。……大陸上研究陳寅恪的基調已明顯地轉換為“愛國主義”(1994年季羨 林在廣州中山大學召開的關於《柳如是別傳》的討論會上的主題講詞便是明證。見“陳寅恪先生的愛國主義”,收在《柳如是別傳與國學研究》中,第1至7頁)。 陳寅恪可以不認同政權,但絕不可能不認同國家。依照大陸官方的邏輯,只要你承認了陳寅恪“愛國”這個前提,你就不能不接受下面這個必然的結論:“難道祖國 是抽象的嗎?不愛共產黨領導的社會主義的新中國,愛什麼呢?”(見《鄧小平文選》,第347頁) 當然,在陳寅恪研究中,這句話只是潛臺詞,不必說破,也不能說破。如果你說陳寅恪愛的是中國文化,邏輯的結論也還是一樣。季羨林說得很透徹:“文化必然依 託國家,然後才能表現,依託者沒有所依託者不能表現,因此文化與國家成為了同義詞。”(前引文,第4頁)
因 此在新論說中,1949年陳寅恪的“去”、“留”問題仍所必爭,但所爭已不在政權認同,而在“留在大陸”還是“出走海外”。愛國或不愛國、人品識見之或高 或下、道德意識之或強或弱,無不由“留”或“去”而判。如果有人引《詩經》“逝將去汝,適彼樂國”、《論語》“乘桴浮于海”、或曾子“小杖則受,大杖則 走”之類的典據與之爭議,企圖說明儒家文化未嘗不允許陳寅恪當年離開大陸,那就未免“書生氣”到了可笑而又可憐的地步了。陳寅恪今天之所以被描寫成一個神 秘不可思議的“戀土情結”的精神病患者,有如胎兒之不能須臾離開母體,正是因為“去”、“留”問題不僅具有歷史意義,而且更取得了新的現實意義。試看季羨 林在上引講詞中開頭的幾句話:“陳寅恪先生一家是愛國之家,從祖父陳寶箴先生、其父散原老人到陳先生都是愛國的,第四代流求、美延和他們的下一代,我想也 是愛國的”。(前引文,第1頁) 我初讀時大惑不解,陳寅恪的二女兒小彭在父親晚年侍奉最力,有蔣天樞《編年事輯》與吳宓《日記》可證,為什麼竟被排斥在“愛國之家”以外了呢?稍一尋思, 我終於恍然大悟,原來小彭女士早已于八十年代前後移居香港,她已失去“愛國之家”的資格了。現在香港已“回歸祖國”,我盼望她能恢復陳寅恪女兒的自然身 份。
第 三,新論說中以文化取消政治,也是一個極其顯著的特色。這一點我在前面所擬的模型中已有所說明。新論說與舊論說最大不同之處在於,它明白承認陳寅恪在政治 上備受折磨,但卻堅持政治絲毫不影響他的文化追求。他們好象想藉著政治與文化一刀切斷的辦法來推崇陳寅恪的高潔。1949年以後陳寅恪能留在“父母之 邦”,胎息于中國文化之中,那已是生命的最大充實;其他一切不幸,雖也不免令人嘆息,卻已不值得計較了。所以在新論說中,陳寅恪對於折磨他20年以至於死 的政治,始終沒有一個明確的看法。他的許多感事詩,當時他的朋友已看出是“謗詩”,甚至黨委書記也說是“諷刺我們”,現在都被解釋成為“文化苦吟”。他在 1953年寫的“對科學院的答覆”,在我們俗人看來明明是“痛斥極權統治者箝制思想”,竟在新論說家的筆下變成了“文化苦痛”的一種表現。不用說,他在 “文化大革命”期間“終於活活給嚇死了”(《最後二十年》,第480頁),那也只好怨他自己經不起“文化恐怖”。
不 過真要想把陳寅恪說成一個只有“文化”概念而無“政治”概念的人,也不是一件容易的事。經過“文化大革命”以後,我曾讀到許多老學人引用趙元任先生的名 言:“說有容易說無難”。不知為什麼新論說家竟那樣健忘?陳寅恪晚年詩文中的反證太多,但這裡不能涉及。現在姑引吳宓《日記》中一句話以概括之。吳宓 1961年9月1日記陳寅恪的談話時,有一條說他“堅信並力持:必須保有中華民族之獨立與自由,而後可言政治與文化”。(《吳宓與陳寅恪》,第145頁) 這裡他明明把“政治”和“文化”劃分為兩個互相獨立的領域,而且“政治”還置於“文化”之前。他怎麼可能對日日身受其苦的政治沒有一個明確的整體概念呢? 如果真對政治全無概念,他又如何能大談清談與政治的關係?更如何能寫出《唐代政治史述論稿》呢?
以陳寅恪解陳寅恪
我 很理解新論說家的苦心孤詣,他們是為了要駁斥我的謬說而不得不然。但其實這是由於胡喬木及其寫手們有意栽贓而引出的。我從來便認定陳寅恪的終極關懷是文化 而不是政治;不過我同時也指出,他出身於近代變法的世家,對政治既敏感也關心。因此在他的思想中政治與文化是互相關涉的。由於中共官方的刻意歪曲,大陸學 人中頗多相信我的《晚年詩文釋證》一書只是為了證明陳寅恪“認同於國民黨政權”。他們也相信我曾提出“陳寅恪最初準備追隨國民黨去台灣”之說。事實上這兩 點恰好都是適得其反。大陸學人對於本書大概耳聞者多,目見者寡。他們能讀到的也是“馮衣北”《陳寅恪晚年詩文及其他》的“附錄”,已先經過了一道“批判” 程式。而且“馮衣北”與我“商榷”時,其口吻簡直是在同一個國民黨的宣傳人員作“階級鬥爭”。其意顯然是為了要給我扣上一頂“帽子”,以達到“鬥垮”、 “鬥臭”的目的。
今 天新論說家文明多了,但仍然一口咬定我用“政治”污染了陳寅恪的“文化”。所以他們反其道而行之,專以“文化”來消滅我的“政治”。他們甚至不惜棄車保 帥,推出“馮衣北”與我同斬,說雙方“都無法抹掉‘弦箭文章’的色彩。”(見《最後二十年》,第501頁) 我已考出陳寅恪用“弦箭文章”之典出於汪中“吊馬守真文”,意指代“府主”作文章,說的是“府主”腹中之語。“馮衣北”的“府主”是胡喬木已有明證,不成 問題。那麼我的“府主”又是誰呢?圖窮匕首見,新論說家原來是在暗中為我補行加冕禮。這樣看來,他們的“文化”也並不那麼“純”,它消滅了我的“政治”, 卻又以走私的方式挾帶進自己的“政治”。這與以國土認同掩護政權認同的手段不但異曲同工,而且殊途同歸。總之,新論說的“文化”並未飄逸出塵,它的立足點 恰恰是今天在大陸上流行的“政治文化”(political culture)。
我 這本書大概短期內還不可能在中國大陸流傳。“眾口鑠金,積毀銷骨”,它所受到的種種曲解和誣毀則仍在擴散之中。但這一層全不在我的心上。我以偶然的機緣, 竟能在先後四十年間為陳寅恪的晚年詩文“代下注腳,發皇心曲”,而今天終於親見“陳寅恪熱”的出現,這是我在1958年寫“論再生緣書後”時所根本不敢想 像的。我在精神上所得到的滿足已足夠補償我所化費的時間與精力而有餘。
更 重要的是,通過陳寅恪,我進入了古人思想、情感、價值、意欲等交織而成的精神世界,因而于中國文化傳統及其流變獲得了較親切的認識。這使我真正理解到,歷 史研究並不是從史料中搜尋字面的證據以證成一己的假說,而是運用一切可能的方式,在已凝固的文字中,窺測當時曾貫注于其間的生命躍動,包括個體的和集體 的。這和陳寅恪所說,藉史料的“殘余片斷以窺測其全部結構”(《金明館叢稿二編》,第247頁),雖不盡同而實相通。如果我當初從他的劫余詩文中所窺見的 暗碼系統和晚年心境,居然與歷史真相大體吻合,那麼上面所提示的方法論至少已顯示了它的有效性。在中國現代史學家中,陳寅恪是運用這一方法論最為圓熟的一 位先行者。我曾一再說過,我儘量試著師法他的取徑,他怎樣解讀古人的作品,我便怎樣解讀他的作品。從這一點說,這本書不能算是我的著作,不過是陳寅恪假我 之手解讀他自己的晚年詩文而已。
但 我不否認我對此書有一種情感上的偏向。因為他已不是外在於我的一個客觀存在,而是我的生命中一個有機部分。它不但涉及歷史的陳跡,而且也涉及現實的人生; 不但是知識的尋求,而且更是價值的抉擇。此書不是我的著作,然而已變成我的自傳之一章。因此在告別陳寅恪研究之際,特寫這一篇“自述”,敘成書因緣,作為 我個人生命史的一種紀念。 (1997年10月12日于普林斯頓)
-----梁永安先生推薦

郭梓棋:真正的閱讀——余英時與陳寅恪


早就聽聞余英時先生的《陳寅恪晚年詩文釋證》是本好書,卻到最近才買了兩年前增訂的新版,一篇篇讀下來,心裏激動,覺得余英時示範了如何做個理想的 讀者——拿着一本謎語書而不猜謎,永遠都不曉得謎語的奧妙之處。何况那還不是普通的猜謎遊戲。博學如陳寅恪先生,晚年卻要在中共治下苟活,把心事和憤懣曲 折地寫進詩中,實在是當代中國摧殘自由之思想的寫照。幸好有後來者余英時作鄭箋,猜謎發隱,否則瓶中信就在汪洋裏永遠飄浮。《陳寅恪晚年詩文釋證》之解 謎,就算不直接如瓶中信之終被打開,也最少像流落荒島的人向大海招手之後,遠遠聽見輪船表示會意的一聲氣笛。真有人明白的話,一個就夠。
余英時為陳寅恪寫第一篇文章時只有二十八歲,陳寅恪尚在人間。那是一九五八年,余英時從陳寅恪不能在大陸出版的《論再生綠》察見其心跡,發而為文, 是為他研究陳寅恪的開始。在更多考證與論辯之後,余英時逐一寫出〈陳寅恪的學術精神和晚年心境〉、〈陳寅恪晚年詩文釋證〉、〈試述陳寅恪的史學三變〉等 文,都收錄在此書當中。文章前後跨越四十年,結為文集,資料不免重複,但由此益見余英時論點之貫徹,最初的直覺與假設都出奇準確。
 太史公沖虛真人之新說
書中詩文典古的考證頗艱澀,這裏僅舉幾個較為容易的例子。余英時的論點之一,是陳寅恪以其獨立之精神,不單從未靠攏中共,更認定這個以夷為師的獨裁 政權,將把中國文化徹底摧毁。這種話在文字獄盛行的時勢,當然不能宣之於口,連書信也寫得隱晦,例如陳寅恪在一封信中提及自己著書已改用新方法,便說那既 非乾嘉考證,「亦更非太史公沖虛真人之新說」。余英時在〈後世相知或有緣〉一文如是收結:
試想太史公和沖虛眞人都是老古董,怎麼忽然變成了「新說」呢?其實陳先生這裏用的正是我一再指出的暗碼系統。太史公是司「馬」遷,沖虛眞人是「列」御寇,他其實是說,他研究歷史決不用「馬列主義」啊!此陳寅恪之所以成其為陳寅恪也。
信中明顯讀不通的句子固然像謎,貼在門前看來顯淺的對聯也一樣充滿玄機。余英時之見出來之後,中共自然組織反擊。例如馮依北,即引陳寅恪在一九五九 年的門聯「六億人民齊躍進,十年國慶共歡騰」為反證。如此歌功頌德,不是鐵證如山?余英時在〈陳寅恪晚年心境新證〉的回應可謂鞭辟入裏。他憑藉的先是自己 對陳寅恪的認識,覺得以其史識,不可能歌頌發動「大躍進」和「人民公社」的政權,復謂以先生的文史造詣,即使要歌功頌德,也會寫得比較得體和有深度。
 十年國慶共歡騰
然後,余英時說明熟知文章體例的陳寅恪,一年前特意寫過一段「歇後體」的文字,點出門聯實用歇後:「『六億人民齊躍進』的下面半截沒有說出來。六億 人民一齊躍進什麼地方呢?躍進火坑、躍進地獄、還是躍進深淵?這是要讀者自己用想像去填補的。」說服力固然未足,他補充:「十年國慶共歡騰」的「共」即是 共產黨的「共」。所謂「十年國慶」只是「共」產黨的「國慶」,也只有「共」產黨才「歡騰」。陳先生把「人民」和「共」產黨放在一副對聯的兩面,他的意思還 不清楚嗎?」
孤證不立,余英時接着指出陳寅恪在詩文中用「共」字暗指「共產黨」的其他例子,如〈聞歌〉一首:「江安淮晏海澄波,共唱梁州樂世歌。座客善謳君莫 訝,主人端要和聲多。」所聞之歌是什麼?主人和座客又是誰?詩中的「共」字是雙關語:「共產黨自己歌頌太平,卻要知識分子跟著和唱,而『善謳』的『座客』 也真多得令人驚訝,這是全詩的命意所在。」至此,余英時的反駁可稱圓足。對比馮依北強把陳寅恪在一九○○年寫下的「領略新涼驚骨透」一句,解作「不意共產 黨待我如此之厚」,以及透骨新涼「並非貶語則甚明」等,相距不可以道里計。余英時回應說「如此說詩,誠足解頤」,已是相當克制的嘲諷。
詩無達詁,卻不代表讀者就可隨便穿鑿附會。余英時尊重證據,隨時是服善而修正己見。例如當有人提出陳寅恪詩中「弦箭文章」一典更合理之說法,余英時 即承認:「我在原文中所引袁紹以箭弩著稱云云,其實全不相干」等。這坦然,令我想起他在〈紅樓夢的兩個世界〉的一條注釋。他在這篇經典文章有「大觀園就是 太虛幻境」之見,並在句後施注,謂重翻俞平伯《讀紅樓夢隨筆》,才發現大觀園即太虛幻境之說早為嘉慶本評者道破,俞平伯之轉語亦早有此說。余英時寫道:
俞先生最後一句話和我的說法一字不差。足見客觀的研究,結論真能不謀而合。《隨筆》我曾看過不止一次,但注意力都集中在前面俞先生自己心得的幾節,居然漏掉了這條吞舟之魚。本文既已寫就,改動不便,特補記於此,以誌讀書粗心之過。
單是一條注釋已知其為學的態度,亦可見要做到文證詳悉,實不容易。
 解讀暗碼系統
回到余英時箋注陳寅恪詩之法。用得不好,那固然是疑神疑鬼,草木皆兵,故此《陳寅恪晚年詩文釋證》亦有專講方法論的文章,分析這種暗碼系統的解讀,牽涉詮釋學與史學問題。但我想,有兩個方法最能概括他這種讀書態度。
其一,貫穿書中各篇文章的,全在「心」字。不論心情、心史、心境、心事、心曲,均離不開一種將心比己的代入,類近余英時形容陳寅恪寫《柳如是別傳》 時之「歷史的想像力」﹕王國維自沉了,去國的機會經已消遜,政府肆意蹂躪讀書人,亡天下之憂思日深,陳端生、錢謙益與柳如是激盪了他的心靈而使他耗盡精力 為之發皇心曲,這全是余英時「以意逆志」的背景,再在「發而為詩」的地方搜尋證據。
其二,則可用余英時在書中〈書成自述〉的末段歸納。這將心比己,不單是一般的「他人有心,予忖度之」,因為到最後更是合二為一,再也無分彼此了。余英時說﹕
我曾一再說過,我儘量試著師法他的取徑,他怎樣解讀古人的作品,我便怎樣解讀他的作品。從這一點說,這本書不能算是我的著作,不過是陳寅恪假我之手 解讀他自己的晚年詩文而已。但我不否認我對此有一種情感上的偏向。因為它已不是外在於我的一個客觀存在,而是我生命中的有機部分。它不但涉及歷史的陳跡, 而且也涉及現實的人生,不但是知識的尋求,而且更是價值的抉擇。此書不是我的著作,然而已變成我的自傳之一章。
真正的閱讀,大概無過於此。
 作者知我
余英時這樣閱讀陳寅恪,結果得到了什麼?除了一本書和一些攻訐,余英時告訴我們,在陳寅恪過身十多年後,他得到一封書信,信中有陳寅恪的女兒陳小彭 希望轉告余英時的消息,頭一項說,陳寅恪當年讀過余英時的〈陳寅恪論再生緣書後〉一文後,說過四個字,擲地有聲——「作者知我。」
大陸其實是比較大的荒島,飄流落難的人,卻因寫作與閱讀,心氣相通,最少在浩瀚的時空裏頭,因為人之相知,於孤單之中得到慰藉。
原文載於明報星期日生活



你不知道的台灣古地圖 夏黎明 ( -2015) 等

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〈自由廣場〉生活台灣 談太陽花學運的新世代台灣論述

2014-04-20
◎ 夏黎明
太陽花學運壯闊波瀾,影響深遠,媒體網路上,都有許多的討論。確實,正如330晚上,林飛帆在凱道上的宣稱:「我們已共同寫下台灣歷史的新頁」。在此,試著析論學運中的新世代台灣論述。
其實,從「退回服貿」到「先立法再審查」,學運的主要訴求,都和台灣話語之間,並無直接關連,然而,所有參與、關注,以及反對學運者,都能清楚地意識到,學運必然有其一套自身的台灣論述在支撐,雖然隱而不彰,卻深厚有力。白狼的斥責:「你們不配當中國人」,正是點出了台灣意識在學運中的力道。
稱之為新世代台灣論述,是因為台灣論述,也如同學運所蘊含的世代交替,有了年輕世代的新生命。主導台灣社會二十年左右的愛台灣,獨立建國,悲情台灣,反中情結,國家認同,四大族群等等,幾乎消失在此次學運的場域中,這也是民進黨在太陽花學運中,發揮不了作用的重要因素。因為,民進黨以歷史悲情為基底的一套台灣言說,逐日保守,開始成為過往歷史的一部份了。
滋養太陽花世代抵抗意識的,不是台灣的政治壓迫史,反而是當前經濟和世代的壓迫。年輕同學們的臉龐,並沒有歷史的恐懼,有的是對未來的茫然。悲情台灣是老人們的故事,同學們在意的,是未來生活的想像和個人的價值感。
反黑箱服貿的訴求,意涵了多層指控,正是太陽花世代的新台灣論述基礎。
首先,代議制度的失靈和執政黨對民主政治的漠視,竟然是激起同學憤怒無比的關鍵因素。沒錯,民主社會是太陽花世代最最根本的台灣認同,民主台灣一如空氣、水和陽光,與生俱來,理所當然。
其次,服務貿易協議,執政黨不斷強調其利,包括促進人才交流等等等。然而,學運所憂心的是台灣有可能因此香港化,更讓對岸有機會,以商圍政,買下台灣。對三十歲不到的世代而言,多數人仍然希望在台灣生活,在台灣尋找個人的價值,在台灣貢獻自己的青春和熱血。沒錯,生活在台灣,可以築夢,可以發呆,不論是小清新的開咖啡館,還是小確幸地走讀巷弄或流浪花東,都受到一定的社會支持和認可。生活台灣所蘊含的多元想像和各種可能性,是太陽花世代最最在意的台灣價值,是這個小島上最令人驕傲的資產,需要整個社會的呵護。如果服貿增加了工作機會,增加了薪資收入,增加了個人的全球鏈結,卻失去了生活在台灣的自由自在,這樣的代價,不值得付出,不值得下注。
二十多年來,台灣一磚一石地打造了民主制度,成為社會發展的重要憑藉。曾幾何時,生活本身,居然翻轉成為台灣社會的核心價值,好好過生活成為最有意義的人生目標。環視大東亞,台灣小島竟然可以成就生活大國,凸顯台灣的另一種獨特性,在全球化競爭的時代中。
就戰後嬰兒潮世代而言,民主政治是人生下半場才浮現的場景,樂活慢活是退休前夕的規劃,這些,都得來不易,真是福份。但,對太陽花世代而言,民主政治和生活想望,是呱呱墜地來到台灣的文化基因,如此天經地義,不可剝奪。所有的台灣認同,必須扣緊尊重個人的民主意涵,尊重每一種可能性的生活意義,這才是太陽花世代最最紮實的台灣經驗,捨此無他。
太陽花學運如此急猛地將兩岸服貿,攤在陽光下,更意外地浮現了屬於新世代的一套台灣論述。恰好是這些捧著幾十兆人民幣也無法買得到的台灣價值,成了學運檢視服貿的利劍,成了新世代台灣論述的基石和貢獻。(作者為獨立研究工作者,台東市民)


你不知道的台灣古地圖-從古地圖探索早期台灣發展與多變面貌


在航海技術及測量技術都不甚發達的年代裡,
歷代繪製的台灣古地圖,是忠實呈現?還是一隅之見?
如何從古地圖透視早期台灣歷史與地理發展的謎團?

  「台灣」一詞首次出現於中國的文獻中,是在明朝泰昌元年(1620);在此之前,台灣有許多古名,從周代的「彫題國」、秦代的「瀛洲」、漢代的「東鯷」、三國的「夷州」、隋唐的「流求」、宋代的「毗舍耶國」、元代的「琉求」,一直到明代的「小琉球、雞籠山」。可以看出中原人士對於台灣這個孤懸海外的蕞爾小島要如何稱呼,一直拿不定主意。

  除了名稱之外,台灣在中國古地圖中的形狀也是一變再變。從最早以一個小黑點的形式出現在「唐十道圖」上開始,到清朝的最後一幅台灣地圖為止,台灣島的外貌造型不下十幾種。同樣也可看出中國古人對於台灣這個地處偏遠的蠻荒之島長什麼模樣,始終搞不太清楚。

  《你不知道的台灣古地圖-從古地圖探索早期台灣發展與多變面貌》由夏黎明教授撰寫之「清代台灣地圖的演變」做為總論,主文則分「古代天下輿圖中的台灣」、「古代中國地圖中的台灣」、「清代的台灣全島地圖」三部分,以年代排序,從元朝與明朝少數的古地圖談起,一直談到眾多清代地圖。

  《你不知道的台灣古地圖》本書蒐錄數十幅重要、精采的台灣古地圖,每張地圖皆用簡明生動文字說明該圖的來龍去脈,提供研究台灣歷史的線索,也呈現出古代人們對台灣地理的理解;書中詳細說明古時測繪地圖的各種方式,以及不同年代的地圖內容特色。欣賞這些精緻呈現、超乎想像的各式各樣台灣古地圖,讓讀者從中體驗時空交錯的無比趣味。
 

目錄

總論-清代台灣地圖的演變╱夏黎明

地圖的繪製方式
繪製的方式演變
地圖內容的演變

古代天下輿圖中的台灣

嘉靖36年(1557)東南海夷圖
萬曆21年(1593)乾坤萬國全圖
乾隆8年(1743)乾坤萬國全圖
萬曆29年(1601)西半球圖
萬曆37年(1609)山海輿地全圖
萬曆41年(1613)周天各國圖四分之一
萬曆30年(1602)坤輿萬國全圖
萬曆31年(1603)兩儀玄覽圖
康熙13年(1674)坤輿全圖
乾隆25年(1760)坤輿全圖
雍正8年(1730)四海總圖
乾隆54年(1789)大清一統輿圖總圖
道光22年(1842)東南洋各國沿革圖
咸豐2年(1852)澳大利亞及各島圖
咸豐2年(1852)東西兩半球圖

古代中國地圖中的台灣

元符3年(1100)古今華夷區域總要圖
元符 3 年(1100)唐十道圖
咸淳10年(1274)輿地圖墨線圖
天順 5 年(1461)大明一統之圖
嘉靖8年(1529)大明一統輿圖
雍正元年(1723)天下地輿圖
正德 8 年(1513)輿地圖摹繪本
嘉靖34年(1555)古今形勝之圖
崇禎16年(1643)華夷古今形勝圖
嘉靖40年(1561)輿地全圖
天啟元年(1621)輿地總圖‧日本入犯圖
康熙61年(1722)萬里海防圖
萬曆33年(1605)乾坤一統海防全圖
天啟6年(1626)輿地圖摹繪增補本
雍正8年(1730)沿海全圖
乾隆21年(1756)封舟出洋順風針路圖
雍正 8 年(1730)著色十排圖
乾隆32年(1767)大清萬年一統天下全圖
嘉慶16年(1811)福建全圖
道光17年(1837)明地理志圖
道光24年(1844)皇輿全圖
道光19年(1839)福建全圖
光緒25年(1899)皇輿全圖

清代的台灣全島地圖

康熙20年(1681)台灣略圖
康熙23年(1684)台灣府三縣圖
康熙35年(1696)《台灣府志》總圖
乾隆2年(1737)《福建通志》台灣府圖
康熙43年(1704)台灣輿圖
康熙61年(1722)澎台海圖
雍正元年(1723)台灣府疆域圖
雍正元年(1723)台灣輿圖
雍正8年(1730)《海國聞見錄》台灣圖‧台灣後山圖
乾隆7年(1742)《重修福建台灣府志》台灣府總圖
乾隆24年(1759)台灣輿圖
乾隆25年(1760)台灣番界圖
乾隆54年(1789)《大清一統輿圖》台灣圖附
同治2年(1863)《皇朝中外一統輿圖》台灣圖
光緒25年(1899)《欽定大清會典圖》台灣全圖
乾隆60年(1795)《七省沿海圖》台灣圖
道光15年(1835)台灣前山圖‧後山圖
道光19年(1839)台灣府山險水道關隘古寨疆域圖
道光19年(1839)台灣海口大小港道總圖
道光29年(1849)台灣輿圖
同治12年(1873)台澎山海輿圖
光緒6年(1880)全台前後山小總圖
光緒4年(1878)全台前後山輿圖
光緒17年(1891)全台前後山總圖

丹納(1828—1893 Hippolyte Adolphe Taine)《藝術哲學》傅雷譯

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丹納《藝術哲學》傅雷譯



葛兆光:......我不久前為新發現的清人詹鳴鐸的《我之小史》寫過一篇序。詹鳴鐸是個徽商,他用小說體寫了個自傳。他是個與時俱進的人。在中國有很多這樣與時俱進的邊緣人,站在邊緣想進入主流立場。一方面保持傳統的生活方式,比如喝花酒、參加科舉考試,但是新的東西來了,又趕快去擁抱。.........這就好比我們原來只看到紅顏色,可是現在發現,還有綠顏色或其他顏色。我們應該把各種顏色找出來。順便說一 句,我和汎森兄略有區別的地方是,我的興趣是在主流思想背後,發現有一點像在丹納《藝術哲學》裏說的那種“嗡嗡”的背景音樂。這個背景音樂跟主旋律是吻合 的,使主旋律越來越強。比如剛才說到的《我之小史》的作者,雖然不起眼,但其實就是主流的、激進的、隨著時代潮流與時俱進的思潮中“嗡嗡”的背景,不了解 背景,就無法說明主旋律何以成為主旋律,這就更像汎森兄說的彌漫的“風”。我和汎森兄可能側重點不同,但共同點就是,不要只關註主旋律。
  王汎森:法國年鑒學派對心態史的研究特別有心得:“心態史”就是愷撒和他的士兵共同分享的嗡嗡聲。是胡適的,也是詹鳴鐸的。






《藝術哲學》是一部有關藝術、歷史及人類文化的巨著採用的不是一般教科書的形式,而是以淵博精深之見解指出藝術發展的主要潮流丹納主張研究學問,應從事實出發,不從主義出發;不是提出教訓而是探求規律,證明規律。他認為物質文明與精神文明的性質面貌都取決於種族、環境、時代三大因素。從這原則出發,闡揚了義大利、尼德蘭和古的藝術流派。最後一編藝術中的理想,為丹納的美學。全書不但條分縷析,明白曉暢,而且富有熱情,充滿形象,色彩富麗,絕無一般理論文章的枯索沉悶之弊。
《藝術哲學》插圖珍藏本分圖本與文本兩卷,圖本共精選五百二十二幅,其中彩圖四百八十四幅,全部由老一輩攝影家,八十高齡的陳淵先生精心翻拍而成。

作者簡介 · · · · · ·
丹納(1828—1893
法國史學家兼文學評論家。實證主義的傑出.使用一于律師家庭。自幼博聞強記,二十歲時以第一名考入國立高等師範,專攻哲學。曾任巴黎美術學校美術史和美學教授。著有《拉封丹及其寓言》、《英國文學史》、《十九世紀法國哲學家研究》、《論智力》、《現代法蘭西淵源》、《義大利遊記》、《藝術哲學》等。
目錄 · · · · · ·
插圖目次
譯者序

第一編藝術品的本質及其產生
第二編義大利文藝復興期的繪畫
第三編尼德蘭的繪畫
第四編希臘的雕塑
第五編藝術中的理想



依波利特·阿道爾夫·丹納Hippolyte Adolphe Taine,1828年4月21日-1893年3月5日),法國評論家史學家

著作

他著有文學史及文學批評《拉封丹及其寓言》(1854)、《英國文學史》(1864-69),《評論集》、《評論續集》、《評論後集》(1858、65、94)

哲學

在哲學方面有《十九世紀法國哲學家研究》(1857),《論智力》(1870)

歷史

在歷史方面有《現代法蘭西淵源》十二卷(1871-94)

藝術批評

在藝術批評方面有《義大利遊記》(1864-66)及《藝術哲學》。

未完成

列在計畫中而沒有寫成的作品有《論意志》及《現代法蘭西淵源》的其他各卷,專論法國社會與法國家庭的部分。




藝術中的人文再現——讀傅雷譯《藝術哲學》有感
2011年09月12日 09:14:09  來源: 中華讀書報


  提起傅雷先生,可能我們首先想到的是家喻戶曉的《傅雷家書》,大家說那是一部體現了如何教育孩子成才的經典讀物,筆者以為那幾百封家書更多地體 現了作為老父親對身處異國他鄉的孩子的關愛之情,但又是一種超越了尋常家長對孩子的生活挂念與感情的寄托。傅雷先生不僅是一位著名的翻譯家,更是一位情感 細膩、眼光獨特的藝術家,他的家書是寫給遠在英國學習鋼琴的兒子傅聰的,故字裏行間處處體現了兩個不同年齡段的藝術家的交流,尤其有一段重要的毛筆手稿家 書,是傅雷先生以恭謹的小楷抄寫的《藝術哲學》第三章“希臘的雕塑”,父親希望兒子能仔細閱讀,深刻領悟其中的藝術真諦。
  所以我們想要了解藝術的傅雷,最值得大家來閱讀的莫過于他翻譯的法國藝術理論家丹納原著《藝術哲學》。也許大家覺得這是丹納的著作,又如何體現 傅雷的藝術思想呢?事實上,如此眾多的西方藝術理論,偏偏傅雷先生選擇了這一部予以譯介,猶如他選擇翻譯羅曼‧羅蘭的《約翰‧克裏斯朵夫》,那是他最認同 最喜愛的一部法國人文主義文學作品,而且與他本人的人文思想、藝術觀念也是最吻合的。因此,就不難理解他選擇丹納《藝術哲學》,將其作為藝術理論經典來教 育傅聰了,我們現在學習藝術的年輕人當然更應該悉心閱讀,細細品味其中的奧妙。
  《藝術哲學》最初是丹納在美術學校的講課稿,他並沒有給我們講述某一藝術門類的創作技巧或發展脈絡,也沒有講解某一件著名的藝術作品的審美品味 或歷史地位,而是通過講述三個西方主要的藝術創作時期,包括意大利文藝復興時期、尼德蘭時期、古希臘時期的方方面面,從而生動地闡釋了藝術品產生的人文環 境、地理環境以及藝術品應該發展的理想狀態。
  丹納以為:在人類創造的事業中,藝術品好像是偶然的產物;我們很容易認為藝術品的產生是興之所至,既無規則,亦無理由,全是碰巧的,不可預料 的,隨意的;的確,藝術家創作的時候,只憑他個人的幻想,群眾讚許的時候也只憑一時的興趣;藝術家的創造和群眾的同情都是自發的,自由的,表面上和一陣風 一樣變化莫測。雖然如此,藝術的制作與欣賞,也像風一樣有許多確切的條件和固定的規律:揭開這些條件和規律應當是有益的。
  跟著傅雷先生那優美而又準確的文字進入到丹納的講課之中,我們倣佛時空穿梭一般回到了產生《蒙娜麗莎》、《春》、《維納斯的雕像》等等巨作的時 代,領略了十五世紀末至十六世紀初意大利文藝復興時期全方位的包括繪畫、雕塑、建築在內的燦爛輝煌,在藝術輝煌的背後是社會生活的奢侈與開放,宗教信仰的 高度升華;感受了前後歷時四百年之久,帶著北方淳樸、粗壯特徵的民族烙印的尼德蘭繪畫;更是體會了代表古代人類淳樸藝術的“希臘的雕塑”,那是一個唯美的 世界,原始的人們對人類最本真的美是如此的熱愛,在他們的生活中充滿了健康的與體育、競技、神話密切相關的各種巨制如神廟,微小若族徽的藝術作品。
  上海書畫出版社出版的《藝術哲學》彩圖珍藏版,首次將五個章節分為了五冊,還原到了丹納最初講稿的原始狀態,傅雷先生原序明確指出,最初的《藝術哲學》是按丹納講課進程在1865年至1869年間陸續印行的,而現在的分冊圖書又加入了大量經典作品及人文、歷史的環境插圖,以求與原著的內容貼切再 貼近,因而非常方便各界讀者閱讀。這是一個藝術理論的係列,卻處處體現出了人文的溫情,溫潤細致,感染無形。(朱艷萍)

Smithsonian 月刊1990年8月號2篇

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Smithsonian - August 1990
August 1990




 Ed Deming wants big changes, and he wants them fast.
August 1, 1990... He has always looked younger than he is, but even with that he is clearly old. He moves slowly through the hotel lobby, preceded by his ample stomach, leaning forward slightly and looking straight ahead through his glasses. From a distance, he...

 The unexpected private passion of Sigmund Freud. (traveling exhibition of antiquities, originating at the Freud Museum, London)
August 1, 1990... No matter how many times you have seen photographs, the room at first sight-and second and thirdjostles and jolts the eye. Here, on a peaceful suburban London street, in his last home, is Sigmund Freud's study, the place where he spent his...



Ed Deming wants big changes, and he wants them fast.

Smithsonian

| August 01, 1990 | Dobyns, Lloyd | Copyright
He has always looked younger than he is, but even with that he is clearly old. He moves slowly through the hotel lobby, preceded by his ample stomach, leaning forward slightly and looking straight ahead through his glasses. From a distance, he appears to be completely bald, but as he gets closer, you see that his hair is white and cropped close to his skull. There are hearing aids in both ears. He is, as always, dressed in a custom-made suit. All of his jacket pockets are stuffedclippings, a calculator, scraps of paper, a little magnifier, file cards, a small notebook, a pocket diary and whatever else he's picked up-and the pocket of his white shirt holds no fewer than a half-dozen pens and markers. On the lapel of his jacket there is a round, thick, gray pin about the size of a dime. The only thing about him other than his age that attracts anyone's attention this morning is that his assistant, an intern and doctoral candidate in business management, is an attractive, well-dressed woman young enough to be his daughter's daughter, and they are walking through the lobby holding hands. You get a sense that for him, it's partly for support and partly for the hell of it.
His business card reads "W. Edwards Deming, Ph.D., Consultant in Statistical Studies." It would be more accurate if it added, "and Capitalist Revolutionary." He wants changes, and not little ones, in everything-business, industry, education, how we live, how we teach our children and how we deal with one another. Deming wants something better for us all, and for most of his 89 years he's been fighting to get it. He knows from experience that what Machiavelli wrote is true: "There is nothing more difficult to take in hand, more perilous to conduct, or more uncertain in its success than to take the lead in the introduction of a new order of things."
He initiated a new order of things in japan. It was a 49-year-old Ed Deming, tall and crew-cut, who in 1950 started teaching japanese managers, engineers and scientists how to manufacture quality. An important step was to teach them to use statistics to find out what any system would do, then design improvements to make that system yield the best results. That idea sounds so logically simple that the tendency is to say, "Everyone knows that." No, everyone doesn't. Americans have a penchant for solutions that are easy to understand, easy to do, aimed at a specific goal and fasten nonthreatening steps to nirvana in 30 days. When it comes to improving what we do, there seems almost to be a flavor-of-the-month approach with each new, highily touted technique stepping on the heels of the one that went before-management by objective, management by results, management by problem report and resolution. Those are the cookbook methods, where you blend the worker and the machine, stir in a pinch of raw material, add a promise of a bonus (or a threat of dismissal), half-bake for 30 minutes and declare a dividend. It's easy to explain, easy to understand, and it doesn't work. Deming teaches that the more quality you build into anything, the less it costs. That, too, sounds self evident, but it's not. Maryann N. Keller, an automotive industry analyst and managing director of a brokerage firm, believes that the most profound change in the American auto industry in the past ten years was the realization that quality can cost less because you design it in rather than inspect it in." The traditional American idea of quality is, as Keller says, to inspect it in; that is, you build a whole lot of widgets, inspect them and separate the good from the bad. The bad can't be sold, but they cost a lot. Not only must all those inspectors be paid, but a bad widget takes the same amount of raw material, machinery, work time and attention as does a good widget. That explains why, typically, about 25 percent of any manufacturing plant's budget goes for repair and rework. That's why so many manufacturers think quality costs more, but what actually costs is a lack of quality. Vernay Laboratories in Yellow Springs, Ohio, makes small, precision-molded rubber parts for the automotive, home appliance, pharmaceutical and medical industries. Before the company heard of Deming in 1983, there was one inspector for each employee molding parts, and to insure quality, those inspectors checked everything that was produced. Think of that: nearly half of the production workers were paid to check what the other half did. In five years, doing what Deming taught it, Vernay cut its ratio of inspectors to molders by 75 percent. In the same five years, the plant's scrap and returned-product rates were cut by three-quarters, and productivity in the plant was up 30 percent. Quality was up, costs were down and the savings could be given to the customers. "One of the great pleasures I've had over the last five years," says Dale Piper, national sales manager, "was walking into the purchasing office of one of our larger customers and telling them that we were going to be giving them a price reduction, a completely unsolicited price reduction."
The basics of Deming's method are contained in a list of objectives he calls "the 14 points." These managerial imperatives are more philosophical than mechanical. The first of them is to "create constancy of purpose." You have to decide what business you're in and how you can stay in that business. It sounds deceptively simple, until you try it. Buggy whip makers undoubtedly believed they were in the business of making buggy whips, which explains why they are no longer in business at all. They, were actually in the business of vehicle acceleration; just making buggy whips, even the world's finest-quality buggy whips, wasn't enough. Part of constancy of purpose is staying ahead of the customer, not only meeting present needs, but planning for future needs, as well.
The Ford Motor Company began consulting with Deming in 1981, and one of the first questions he asked was about constancy of purpose. Top management began to think about it. Eighteen months later Ford had a 350-word statement of its missions, values and guiding principles. By now, there can't be a Ford employee, supplier or dealer anywhere in the world who does not know that Quality is job l." Donald Petersen, Ford's recently retired chairman and chief executive officer, says, "I am a Deming disciple." And he adds, "Those enterprises that don't adopt a quality culture simply are not going to succeed."
The issue is even broader than that. Improving quality, Deming says, automatically increases productivity, one of the measures economists use to judge how
I the economy is doing. Ours is improving, but not at a pace with japan's. At current rates, the United States' productivity will double in 120 years, japan's in a generation, meaning its children's standard of living will double while our children's will stay about the same.
When he first went to japan, Deming was certain he could teach the japanese how to join the leading industrial nations by improving quality. "I think that I was the only man in 1950," he says, "who believed that the japanese could invade the markets of the world and would within five years." The lapel pin that few in this country could recognize represents japan's Second Order Medal of the Sacred Treasure, awarded to him by the late Emperor Hirohito. The citation says the japanese people attribute the rebirth of japanese industry and its worldwide success to Ed Deming.
As famous as Deming is in japan, he was comparatively unknown in the United States until june 1980, when he appeared in a network television documentary titled, If Japan Can, Why Can't We? It compared industrial productivity in japan and the United States. I was the writer and narrator. Cecelia S. Kilian, Deming's secretary since 1954, and known almost universally as Ceil, said that starting the next morning, "Our phones rang off the hook.... Dr. Deming's mail quadrupled, and beyond." Petersen at Ford was one of the eventual callers. By late 1987 he told an interviewer, "We are running well over 50-percent-better levels of quality in our products today, and I dare say that I would not have predicted that much improvement in this short time." That same year, 1987, General Motors called Deming. The word was spreading in the industry: building quality drives costs down and profits up. At an age that most American men will never reach, Deming continues trying to transform (his word) the United States, to make it possible for us to join what he calls "the new economic age." To teach corporate managers how that can be done, he works six days a week and is booked into 1991. Ceil is his whole staff.
Deming is never quite satisfied, so any attempt to chisel what he says into stone is frustrated by his insistence on constantly trying to improve or clarify his thoughts. But that continual improvement is at the heart of his teaching. It is one of his 14 points: Improve constantly and forever the system of production and service, to improve quality and productivity, and thus constantly decrease costs." To get to that point, Deming says, you not only need constancy of purpose, you also have to recognize that we're in a new economic age with a single global market, that mass inspection does not produce quality, and that buying from the lowest bidder is costly. To get good supplies, Deming says, you work with a single supplier to improve his quality and lower his costs, cultivating a long-term relationship in which both of you will profit. Cheaper is not always better That last one leaves people in purchasing departments almost in shock, since it is a basic tenet of American industry that you play one supplier against another, demanding and getting lower prices, and if one supplier won't cut his price, another one will. That's the way you cut costs and improve profits, and everyone in business knows that. And like a great many other things that everyone knows, it's wrong. Deming tells the story of a shoe manufacturing company where productivity dropped like a rock in a well, and a consultant was called in. The first thing the consultant did was what the typical American manager would rather die than do: the consultant went on the factory floor and asked the workers what went wrong. Shoes are sewn together, and it takes an enormous quantity of thread. Sewing machine operators said the thread kept breaking, so they spent half their day rethreading the machines. You know the end of this story. Some time earlier, some genius in purchasing found a company that would sell thread a penny a bobbin cheaper than their regular supplier, and to save a penny a bobbin, the company's productivity was cut in half.
The rest of Deming's 14 points basically deal with management and labor and their relationship. He says quality is made in the boardroom, but everyone must have a part in changing the company. Management must learn about the responsibility for quality, must learn how to lead, instead of giving orders, and must make it possible for everyone to work together for the good of the company.
Everyone already knows that-, If, in the typical American firm, everyone is working for the good of the company, then why are different divisions within that company competing? Why is it necessary to give employees annual ratings or performance appraisals? What's more important to you, getting a good rating for yourself, or helping another person improve so that the whole company will prosper? Why are there numerical goals or work standards? Are we trying to make quality, or are we satisfied to make dally quotas?
If you want to make quality, management leads in the design of product and service, but everyone has to understand where they're going. If you tell someone to wash a table, the order doesn't mean anything unless the worker knows why. Is it being washed to serve lunch? Simple enough and quickly done. Is it being washed as an emergency operating table? Not easy, but it can be done. Is it being washed to go into a computer "clean room"? Can't be done.
Job training alone, Deming says, is not enough; the company has to help with employee education in a more general way, too. At Ford there are joint company-union education programs, everything from helping you brush up on your high school math to studying for your college degree. College courses are taught at no cost to employees in learning centers at Ford facilities or at the local union hall. The idea is this simple: the smarter everyone gets, the more everyone will be able to help the company.
W Edwards Deming is an unlikely capitalist revolutionary. Had he become a Marxist, it would be more understandable. If he ever saw a silver spoon as a kid, it belonged to someone else. He was born in Sioux City, Iowa, on October 14, 1900. With his mother and father, he and younger brother Robert went to Wyoming seven years later. Wyoming was the frontier, and his father had staked a land claim there. Sister Elizabeth was born in a four-room tar-paper shack in Powell. In winter, snow blew through cracks in the walls and around the windows. Deming remembers kneeling in the shack with his mother and brother and praying for enough to eat. "I think I had a ob when I was 8 years old or 9," Deming says. "Worked in a hotel, night and morning, before and after school, a job that wouldn't exist today." He carried in kindling and coal, emptied washbasins, tended the boiler. "A dollar and a quarter a week, but those were gold dollars."
In the fall of 1917, his saved money in his pocket, Deming took a train to the University of Wyoming at Laramie. "I studied engineering," he says, "but I really didn't know what engineers did. The course appealed to me-mathematics, thermodynamics, electrical circuits." To stay in college, he worked at anything that paid; after four years, he left Laramie with about the same amount of money he'd arrived with.
Deming taught and finished work on his PhD in mathematical physics at Yale in 1927, then went to work for a research laboratory affiliated with the Department of Agriculture in Washington, D.C. He had other offers, good ones in private industry, he recalls, but he decided on this one and, he says now, "That was no mistake.... There were great men there." (And at least one great woman, Lola E. Shupe, his assistant and coauthor of several papers, whom he married in 1932. She died in 1986.)
Deming had learned to use statistical theory while studying physics. At the Fixed Nitrogen Lab, he devised statistical methods to replace some experiments, saving time and money. Impressed, one of his bosses introduced him to Walter Shewhart, then at the firm now known as AT&T Bell Laboratories, who was working to improve the quality of telephone equipment. Shewhart wanted the expression "as alike as two peas in a pod" to be replaced by "as alike as two telephones." He believed that could be accomplished with statistical analysis.
During World War 11, it was largely through Deming's efforts that 35,000 American engineers and technicians were taught to use statistics to improve the quality of war materiel. That work brought him to the attention of the Union of japanese Scientists and Engineers (JUSE). When the war was over, japan was little more than a pile of rubble and its industrial capacity was severely crippled. JUSE asked Deming to help its members increase productivity. In july 1950 he met with the top management of japan's leading companies, and he gave eight daylong lectures titled Elementary Principles of the Statistical Control of Quality" to 230 japanese managers. It was, essentially, the same course he had taught Americans during the war.
Why did his teachings catch on in japan but not here? Because, Deming says, the japanese knew they were in an economic and industrial crisis and we don't. Yet here we are in 1990, the world's most indebted nation, borrowing heavily from, of all people, the newly wealthy japanese. Deming tells students at a four-day seminar in Texas that we can recover. Then he adds, "Nobody's sitting here predicting that we'll survive. We may not. There's no regulation saying we must survive. Purely voluntary." And he tells a group in Ohio, "We can rise from the ashes like a phoenix, but it will take a transformation to do it."
By transformation, he means adoption of his quality philosophy. It is not so much a recipe of dos and don'ts, although there are some, as it is a method of continual improvement that involves reducing variation. American manufacturers say that they are already doing that, that they have strict specifications for every part. A quick story. An American car company was having trouble with transmissions made at one of its plants here, and warranty costs were enormous, a drain on profits. The same transmission, built to the same specifications at a plant in japan, was not causing problems. Engineers carefully examined 12 American transmissions; variations existed, but all were well within specifications. A quality-control inspector would have been delighted with every one. When the 12 japanese transmissions were tested, an engineer reported that the measuring equipment had broken. It hadn't; in those transmissions, there simply was too little variation to measure. They didn't just satisfy the specs; for any practical purpose, they were identical. Staying close to what is best That story's true; this one's made up. Assume that we all work in a room together, and we know by statistical analysis that we produce our best work when the temperature is 68 degrees E But if it's 67 or 69, the loss in terms of the quality of our work is so imperceptible that it simply doesn't matter. Now, should the temperature fall to 58 or rise to 78, the loss will be enormous. Take that same idea and apply it to specifications. Everything inside a given set of specifications is not the same. Some are worse than others, and the farther away you get from what is best, the worse it is and the greater the loss in quality will be.
Statistics alone cannot assure reduced variation, Deming says; it takes everyone, management and labor, working together. To get that kind of cooperation you have to throw out much of what is currently accepted as good management practice. Not only do you have to do away with bonuses and incentive pay because they create competition; once you adopt the Deming method little else stays the same. Ben Carlson, executive vice president at Vernay and chairman of its Deming Steering Committee, says the Deming method "changes the relationship with your customers; it changes the relationship with your suppliers; it changes the relationship you have with your employees." Customers become the most important people in your business. Unless the customer is so delighted that he's not only willing to come back but eager to bring his friends, you can close the door now and save time. Suppliers can no longer be played off one another for lower prices. They become your partners, and you have to help them improve so they can give you continually improving supplies for lower prices. And if you and your employees don't work together in mutual respect toward the same goal, how good the supplies are won't matter. Corny as it sounds, Deming wishes work could be nicer, more satisfying.
In teaching people to be nicer, he himself can be abrasive. Polite to the point of courtliness in social situations, he can be short-tempered and intolerant at work. He always tells people at his seminars that the object is "to have fun," but when one person he is raking over the coals complains, "Dr. Deming, I'm not having fun," he leans back in his chair, smiles broadly and says, "I am."
Deming works as a consultant to private companies, but more people probably know him through his public seminars, most of which are run by Nancy Mann, who has a PhD in biostatistics. People are standing in line to get in. Deming mentions one seminar-500 vacancies, 3,000 applicants. There are 14 of these seminars a year in this country and England with 500 to 600 students each, and a waiting list of about 100 for each seminar. "Students" is perhaps misleading. At a seminar I attended in Dallas, the people were mostly in their 30s and 40s-managers, engineers and technicians from major corporations in all types of business, defense contractors, officers of the Armed Forces, health-care insurers. Deming lectures morning and afternoon for the four days, sometimes from notes, sometimes from memory, but with a good teacher's sense of when the lecture is becoming too intense, as it did at one seminar when he tried to make the class understand that there is no true value of anything, that whatever number you get depends on how you count, and if you change the way you count, the number will change. People think the speed of light is a true value, Deming says, but it isn't; there were ten different published figures for the speed of light between 1874 and 1932. Then in his best professorial voice, which is deep and impressive, Deming quotes Galileo as saying, is not infinity, then it's awfully damned fast." The class roars. The point is unforgettably made. Deming wants American business and industry to prosper. "All I have to offer is to improve profit," he says, but his method is not easy to understand. The standard American corporate questions about quality improvement are, "What do we do? (But keep it simple)" and "How long will it take? (But keep it short)." With Deming what you do is continually improve, not in great leaps forward, but a little here, a little there, and it never gets any easier. You change the way you think, unlearn everything about management you've been taught, and develop an understanding of statistics and psychology, an understanding of how people learn and what makes them change, and an understanding of people's need to take pride and joy in their work. How many steps are there-, No one knows. How long will it take? The rest of your life, but-here's the good news-you should start to see results in three to five years. Why should you do that@ Because the people who have tried it say that it works. And not much does these days. At the hotel, it's early evening, and his lecture is over. Deming is going to his room to rest before dinner, a rare concession to his age. He comes down the hallway, the same attractive, well-dressed young woman holding one hand, and a tall, striking woman, a seminar coordinator, holding his other hand, and they are skipping. Skipping! Three kids home from school. W Edwards Deming, PhD, Consultant in Statistical Studies and Capitalist Revolutionary, wears a smile of the most childlike pleasure and delight.



Smithsonian archives from August 1990

Smithsonian horizons. (public support for science, and public support for art) (column)
August 1, 1990... Public support for science is now generally accepted; why has it become so controversial for art? Bitterly engaging Congress during this spring and summer has been a polarized debate over reauthorization of the National Endowment for the Arts...
The object at hand. (Auguste Rodin's Burghers of Calais) (column)
August 1, 1990... In the Hirshhorn Sculpture Garden, Rodin's famous figures stand witness to an ancient act of civic courage When England's King Henry V, whose Shakespearean exploits have lately stirred such enthusiasm among filmgoers, sailed for France in...
Phenomena, comment and notes. (students from Memphis College of Art study for a week on Horn Island) (column)
August 1, 1990... Following in the footsteps of artist Walter A nderson, students learn how to see nature on a Gulf Island It was a typical weekday morning. Stingrays were sunning themselves in the shallows. Bottle-nose dolphins dawdled 50 feet off the beach,...
In Anatolia, a massive dam project drowns traces of an ancient past.
August 1, 1990... On the western edge of the brown, rolling steppe of southeastern Turkey, the blue-green waters of the Euphrates surge into a giant reservoir behind one of the world's largest dams. It is named for the father of modern Turkey, Mustafa Kemal...
A dreamer who made us fall in love with the future. (Hugo Gernsback)
August 1, 1990... In 1910, when my grandmother was 7 years old, Hugo Gernsback would come to the house and make alarming predictions about that newfangled device, the telephone. My grandmother was then living on Central Avenue in Cleveland, and Gernsback, a...
Letting us down gently: the art of the parachute.
August 1, 1990... I fell, and tumbled through death. On the other side it was a sunny afternoon, bright and breezy, and shortly i tried out my wings and fell in love. Others had been there before. I had read the reports of combat-hardened pilots and...
Ed Deming wants big changes, and he wants them fast.
August 1, 1990... He has always looked younger than he is, but even with that he is clearly old. He moves slowly through the hotel lobby, preceded by his ample stomach, leaning forward slightly and looking straight ahead through his glasses. From a distance, he...
For happy campers, nothing beats the old rites of passage.
August 1, 1990... At 7:45 in the morning, 8- and 9-year-old members of Camp Airy's Unit A dash up the hill from their cabins. Fog blankets a valley far below, but the 450-acre summer camp in the foothills of Maryland's Catoctin Mountain perches above the...
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2009年6月號的 講義 西洋講義(p.32):"....沒想到我竟然能和曾祖父 (S. Freud)心靈相通,對雕塑同樣熱愛。佛洛依德 (S. Freud)本身就是個收藏家.....珍花了20個月,將這個意外驚喜拍成《死或生》影片,把自己的作品和佛洛依德的收藏品,做了淡入、淡出的疊合效果。....."是否對自己的創作失去原創性感到失望?"....."我認為這就是挑戰。"

"Dead or Alive" by Jane McAdam Freud (2007)

https://www.youtube.com/watch?v=C72HZlYiRZw

McAdam Freud's short film 'Dead or Alive' refers to Freud’s concept of Condensation. The pairings morph into each other through the merging back and forth of Freud’s antiquities with her sculpture, from past to present ‘virtually’ closing the gap of time. Great similarities can be found in the forms and motifs of the pairs. At a midway point the two objects merge and form a third image of a ‘virtual’ object. Her preference for this work was to locate it within reach of a psychoanalytically aware audience. Dead or Alive was however shown internationally at museums, institutes and galleries including Philoctetes Centre for the Imagination, NY, New York USA in 2008, Lung Yingtai Cultural Foundation, (Media Tek Lectures) Taipei, Taiwan and the Kosciuszko Foundation, NYC, USA in 2009. Also the Sundaram Tagore Gallery, LA, USA in 2010 and Whitelabs Gallery, Milan in 2012.http://en.wikipedia.org/wiki/Jane_McAdam_Freud


The unexpected private passion of Sigmund Freud. (traveling exhibition of antiquities, originating at the Freud Museum, London) /Smithsonian 月刊1990年8月號
August 1, 1990... No matter how many times you have seen photographs, the room at first sight-and second and thirdjostles and jolts the eye. Here, on a peaceful suburban London street, in his last home, is Sigmund Freud's study, the place where he spent his... 


 http://www.accessmylibrary.com/coms2/summary_0286-5465707_ITM

The unexpected private passion of Sigmund Freud. (traveling exhibition of antiquities, originating at the Freud Museum, London)

Smithsonian

| August 01, 1990 | Dudar, Helen | Copyright
No matter how many times you have seen photographs, the room at first sight-and second and thirdjostles and jolts the eye. Here, on a peaceful suburban London street, in his last home, is Sigmund Freud's study, the place where he spent his last year and where he completed his last book and where, on a September day in 1939, he died. In the warm domestic surround that summons up turn-of-the-century Vienna, here is the couch covered with a good Persian rug, and just behind it, the green armchair where Freud famously positioned himself to escape the patient's direct gaze. Here are photographs of friends and colleagues. Here are the well-used books of a man who read widely, deeply and ferociously-full sets of Goethe, Shakespeare, Balzac and Anatole France, a wall of volumes on archaeology.
And everywhere the astonished gaze wanders, here are emblems of the vanished past. Terra-cotta and bronze figures and fragments of figures throng the shelves. Mummy masks hang from a bookcase and lie under glass. Ancient Greek pots, Egyptian scarabs, Roman oil lamps, Sumerian seals that have survived for more than four millennia-forests of these things repose in serried ranks in vitrines. The cherished pieces crowd the edge of Freud's desk, an attentive, questioning audience. Squirreled away in drawers are still more objects, odds and ends too small or too difficult to display. Infinite riches in a little room you could say-these are Freud's antiquities, 2,300 of them by the best estimate. In the felicitous phrase of one of his biographers, "the archaeologist of the mind" had an unappeasable appetite for the entombed treasures of other times. The sturdy brick house at 20 Maresfield Gardens in Hampstead, in northwest London, became the Freud Museum in 1986. Last fall, a sampling from the collection began a 30-month tour of the United States, crisscrossing the country to settle for weeks at each of 13 galleries. (The exhibition schedule for this year includes the University of Colorado, Boulder, july 6-August 18; the University of Miami, Coral Gables, August 30-September 30; and the University of California, Irvine, November 11-December 16. In 1991, the show will be at Stanford University, Stanford, California, january 15-March 17; the New Orleans Museum of Art, April 21-june 3; the University of Michigan, Ann Arbor, june 28-August 16; the University of Houston, September 7-October 13; the jewish Museum, New York, November 7-February 18, 1992. In 1992, the show will be at Boston University, February 26-April 6. The exhibition is sponsored by CIBAGEIGY Pharmaceuticals and the National Endowment for the Arts.)
It is an elegant little show designed for the intimate spaces of smallish museums, a digestible portion of the art that absorbed this great man's attention and spare funds for more than 40 years. Entitled "The Sigmund Freud Antiquities: Fragments from a Buried Past," the exhibition was formally intended to mark the 50th anniversary of the death of the founder of modern psychiatry. More aptly, it celebrates his work and evokes his ideas and passions.
"The Freud Antiquities" consists of 65 pieces, embracing a range of ancient times and places that held Freud's interest. Not surprisingly, many of them represent humans or animals-gods and sages and magical figures that embodied the mythology of ancient religions. Aptly enough, the show usually begins with Eros and ends with Thanatos-visual examples of Freud's conclusion that civilizations evolved through the drive to live, struggling eternally against the urge to die. It offers a sphinx, whose mystery was fatally unriddled by Oedipus; the Theban king would, in turn, bestow his name on what Freud decreed was a universal force of infantile sexuality, the Oedipus complex. It displays a balsamarium, an Etruscan container for perfumed oil, a favored piece that sat on his desk. One side wears a female face, the other a male visage, a double image for this master of dichotomies who found dualities everywhere he looked, and who saw bisexuality as basic to human nature.
The show has surprises. It was to be expected that Freud would be drawn to Egyptian, Greek and Roman imagery mirroring Freudian ideas and theories. On the other hand, he also found his way to the less-familiar, less-fathomable art of the Orient. And if the symbolism of ancient human and animal forms compelled his interest, he could also allow himself to own beautiful old jars and bottles that reflect nothing more than the master glassmaker's art.
And he could be fooled. The exhibition cases house a few forgeries; two are the kind of pieces that the modern museum world labels airport art"-massmarketed souvenirs produced for tourists. Scattering a few fakes among the authentic works was a calculated gesture, an essential ingredient of this homage to the whole, complex persona-scientist, thinker, explorer of the human psyche, medical practitioner, humanist, family man and, rather touchingly, obsessive collector who, like collectors almost everywhere, would sometimes succumb to a longing for a questionable object simply because he loved it and had to have it.
The exhibition is the joint effort of Lynn Gamwell, director of the University Art Museum of the State University of New York at Binghamton, and Richard Wells, director of the Freud Museum in London. Modestly scaled though it is, "The Freud Antiquities" was meant to represent the full range of the collection, including trivia. As Gamwell explains, "We did not want it to be simply honorific; we wanted to reflect the fact that he made mistakes." Actually, the low end of the selection stops short of her co-curator's assessment; with charming candor, Wells is apt to tell a visitor to the museum that while Freud's esthetic sense was a good deal more refined than friends and family gave him credit for, he did wind up with "a certain amount of junk and tat."
It should hardly come as a surprise that Freud understood better than many collectors what his buying meant on the simplest level and in the most personal terms. It was "an addiction," he once told his personal physician, Dr. Max Schur, and it was rivaled in intensity only by his need for nicotine. Plainly, at least one of those habits was necessary to his sense of well-being. Cigar smoking afflicted him with cancer of the palate and, beginning with his first surgery in 1923, would ever after be a relentless cause of suffering. Collecting was, at least, a benign addiction. It offered the good doctor the kind of comfort known to everyone who has ever succumbed to the desire to buy something-as a reward, as an antidote to a spell of low spirits, as a remedy for boredom, as an amulet against anxiety.
Freud's attraction to objects of antiquity was layered with meanings, but there is a touching simplicity to his report on a purchase he made just after an especially unhappy medical episode. He had been fitted with a new artificial palate after yet another encounter with oral surgery. The prosthesis impaired his speech and put an end to his public lecturing; just inserting and removing it was a harsh effort. Reporting his medical news to his colleague and friend Max Eitingon, he wrote, "I got myself an expensive present today, a lovely little dipylon vase-a real gem-to fight my ill humor. Spending money is indicated not only for states of fear.)"
Freud bought his first art in 1896, about the time his ailing elderly father was not far from death, or possibly just after jacob Freud had died. No one is quite sure. If you share the Freudian view that there are no accidents or coincidences n human affairs, then explanations are in order. It has been suggested that buying copies of art he admired was both a way to console himself in a time of mourning and the representation of a kind of relief universally felt by a survivor.
The earliest purchases were replicas of sculpture of the Florentine Renaissance. Very soon after, Freud began to buy originals of classical sculptures. Like any serious collector, he was finicky about authenticity. Most of his purchases were checked out at the Vienna Kunsthistorisches Museum. If an authority concluded that a piece was a forgery, it was given away. But the experts were not always certain and not always correct.
Not surprisingly, Freud's partiality for remnants of the distant past was linked with powerful memories. Before his medical schooling had begun, he had absorbed and enjoyed a classical education; the old Greek and Roman civilizations and even-older cultures they drew from were familiar territories for him. It is hard to imagine the adult Freud coveting another man's triumph, but the contemporary figure he envied was Heinrich Schliemann who, in Freud's youth, found and began to dig up the lost city of Troy.
The objects Freud collected came from sunny lands that he loved or longed to visit, and they held a mysterious grip on his imagination. To a colleague, he once wrote of "strange secret yearnings" that rose up in him when he studied the art he owned. Perhaps, he said, these feelings stemmed "from my ancestral heritage for the East and the Mediterranean and for a life of quite another kind: wishes from childhood never to be fulfilled and not adapted to reality."
For the professional brethren, on the other hand, the significance and weight of Freud's collecting dwells in what the psychoanalytic literature calls "the archaeological metaphor." Freud began collecting his antiquities during the last decade of the past century, while he was in the process of self-analysis, the painful and meticulous exploration of his own unconscious. The effort would lead to a new method of dealing with emotional distress, to the science or art of psychoanalysis, to what has been more lightly described as "the talking cure." He would write and he would tell some of his patients that the search for suppressed memories they had launched, the effort to rummage through buried experiences "layer by layer," was not unlike the technique of excavating a buried city." The message to the patient was: dig. New York writer Helen Dudar, a frequent contributor to these pages, wrote on the drawings of Jasper Johns in the june 1990 SMITHSONIAN. Like the dualities in Freud's own ideas of human experience, the metaphor is at once relevant and beside the point. After all, what sensible man would assemble more than 2,000 objects for the sake of supporting analogy when a dozen would have made the point? Moreover, the Freud collection includes 100 fine pieces of antique glass; as the museum's Richard Wells points out, "there's no intellectual mileage in ancient glass." Freud bought steadily the way collectors often buy: for the joy of buying, for the pleasure and for the childlike, almost primitive sense of power that ownership of valuables evokes. Sometimes he bought in a way that fed another artery into his fantasy life. Searching the Hampstead study for material to be used in the exhibition, Lynn Gamwell pulled open a drawer and found it crammed with etchings and engravings, more than 50, many of them of archaeological sites, including an 18th-century Piranesi. There was little wall space left in Freud's study, but clearly he could not resist prints of digs that appealed to him. Treasure smuggled by a princess Colleagues and friends learned to look to Freud's interests. When a Roman cemetery was discovered buried under farmlands in central Hungary in 1910, Sandor Ferenczi, a fellow collector who practiced psychoanalysis in Budapest, shared the booty. Lamps and beads from the site were bought for Freud's collection. In later years, Princess Marie Bonaparte, who had been his analysas and and became an important friend and benefactor, seldom arrived from Paris without a prime piece. She was also willing to break the law on his behalf. When it looked as if he might have to leave the collection in Vienna, the princess smuggled out a treasured piece, the fine little figure of Athena that is in the show. In our time, the last knowledgeable witness of Sigmund Freud's buying habits was Robert Lustig, a small, round, rosy man who died last February at the age of 83. In Vienna, Freud was the first and, 13 years later, the final customer for his antiquities. As a boy, Lustig had haunted the galleries of ancient art at the Vienna museum. In 1925, at the age of 19, he somewhat reluctantly went to work in the family watchmaking shop. Still, he prowled the auction rooms and one day triumphantly came back with a bargain, a dozen Egyptian alabaster urns, miniatures no more than three inches tall. To his father's angry dismay, he pushed aside some watches in the window to make room for his find. There they were spotted by a passer-by, a small bearded man who walked into the shop to ask about them. He liked the price.
"Bring them to my house, and I will pay you there," he told the young man, fishing a card out of his pocket. The card announced he was Professor Freud, a name Lustig vaguely knew was famous. When Lustig arrived at the apartment at Berggasse 19 with the little urns, he was overwhelmed by the study: "I had never seen so many things in a private collection." He left with his money and the professor's instructions, "Whenever you find something, bring it up to me."
In a few years, Lustig had his own shop on Wieblinger Strasse. Although it was Freud's habit to route his dally walk through the commercial districts where he knew he would pass antique stores, Lustig usually brought his merchandise to Berggasse 19, sometimes waiting with patients in an outer room until Freud could see him. He came at least once a week and sold something nearly every time. In keeping with local custom, Freud always bargained; the price always came down a trifle. But he was not practiced at pretending indifference.
"When I saw on his face that he liked something very much," Lustig confided, "I charged him a little more. But he took me down anyhow."
Far from rich, Freud was usually a cautious buyer. Some of the money he used for antiquities was unexpected cash-fees paid by patients who knew that for an hour every afternoon Freud could be consulted without an appointment. But in Vienna in those days, collecting classical pieces was not an expensive hobby; the high-priced objects in the shops were from the Gothic, Renaissance and Baroque periods.
At least once, when he was short of cash and wanted something that Lustig was offering-"I have to have it!" Lustig recalled him exclaiming-a trade was arranged. The piece Freud longed for was an Egyptian coffin mask. He proposed that he pay half the price in cash and the remainder with pieces that were duplicates in his collection. "He opened a drawer, and it was full of Greek and Etruscan mirrors," Lustig recalled. The young dealer went off with three or four mirrors and a small prehistoric Greek terra-cotta figure, a seated monkey, which he took to the museum. The curator of the Grecian department gave him an Etruscan bronze in exchange for the piece and put the monkey on display in a glass cabinet of its own. Owning a piece of sculpture that warrants museum display of that kind would suggest that the owner had a better-than-fair eye for quality. Of course, Freud occasionally bought a fake; even museums wind up with fakes. To Lynn Gamwell, co-curator of the show, the quality of much of the collection is impressive. Still, friends and strangers tended to be patronizing about Freud's art interests. One of his major biographers, his colleague Ernest jones, was advised by Ernst Kris, an art historian who became an analyst, and by Freud's son, Ernst, an architect, to avoid the subject entirely. Since Freud had little esthetic appreciation, they argued, there could be nothing worthwhile to say. As a theoretician, Freud certainly was more interested in the role of an artist's fantasy life in the creation of art than he was in esthetics. Still, in the end, the explorer of the human unconscious seems to have thrown up his hands at the prospect of divining the secrets of creativity. "We have to admit," he wrote in his book on Leonardo da Vinci ". . . that also the nature of artistic achievement is inaccessible to us psychoanalytically."
Freud's written views on art nevertheless angered and disturbed a good many people, among them, famously, the distinguished British art critic Roger Fry. His supposition was that Freud did not understand the basic elements of esthetic pleasure-ideas of mass and line, light and shade, space and color. The pursuit of simple beauty In Freud's defense, Ernest jones wrote that there was evidence to show that he had "a keen sense of simple beauty, notably in the sphere of nature, and also that he had some capacity for esthetic appreciation." After all, jones argued, no one would have spent year after vacation year wandering through the art galleries of Italy without some feeling for the art and architecture he was encountering.
Freud's days were crowded. There were patients to be seen, books and papers to be written, professional meetings to be organized, defections of the once faithful to be dealt with, and hundreds of letters to be composed-in his final year in England, 880 reached friends and family and admirers. But there was always time for the collection.
Freud kept a journal, his Chronik," in which he briefly noted some daily events. The last Chronik, the only one to survive the move from Vienna, consists of 20 unbound foolscap sheets covering ten years-an odd document that museum scholar Michael Molnar is trying to explicate. There are perfectly clear, and chilling, comments. The final entry, on August 25, 1939, rePorts "War panic." And there are lines tinged with disappointment: "October 31, 1929, Passed over for the Nobel Prize." And there are tantalizing notes like John D. Rockefeller jr." Did he visit? Did he write? Molnar is still hunting for a clue. New pleasures every few months Freud seems never to have failed to note the acquisition of an important piece. Every few months, the Chronik reports a new pleasure. "Painted Chinese lady," says the entry for March 17, 1933. Ivory Buddha," he reports on May 7, 1934; coming as it did a day after his birthday, it could even have been a gift to himself. Isis with Horus" is recorded on August 2, 1935; the piece, bought from Robert Lustig, is in the exhibition. Traveling from Paris to see him on October 29, 1938, Princess Marie Bonaparte and her daughter, Eugbnie, did not come empty-handed. The visit is reported in Freud's usual laconic style with the note "bronze Venus"-another piece in the show.
Considering how much the collection meant to him, one of the surprises at the museum is the discovery that his antiquities were kept totally separate from the family's living quarters. Freud would sometimes carry a new object to the dinner table to examine and enjoy, but all of his treasures dwelt in the study.
Perhaps Martha Freud, a sturdy, conventional wife and mother who ran the house, disliked his alien stones. Possibly Freud persuaded himself that his antiquities belonged exclusively to his work. No one has quite addressed the question, although Richard Wells, whose career includes both the practice of psychoanalytical group therapy and the management of museums, is willing to guess that the arrangement may have represented Freud's careful division between work and family life: on the one hand, we have the radical thinker who suffered isolation, ridicule and want of advancement for his revolutionary views; on the other, there is the bourgeois paterfamilias who sired six sons and daughters, who loved children and dogs, who always came to the dinner table on time and who believed in mountain walks for the sake of health.
When Freud sat down at his handsome Art Nouveau desk each morning, the first thing he did was reach over and affectionately pat one of his stone "friends." They keep odd company in the museum. Amid these elegances stands a small souvenir figure of a porcupine, an undisguised piece of kitsch that some visitors are shocked to see, but one that represents a sweet moment in early psychoanalytic history. It was given to Freud in 1909 during his only visit to the United States. He had been invited to Clark University to receive an honorary degree and deliver a series of lectures. Before he sailed, whenever anyone asked about the purpose of his trip to Worcester, Massachusetts, Freud would announce that he was going to look for porcupines-to Europeans, exotic American beasts. For years afterward in psychoanalytic circles, the standard expression of anxiety about a looming event was to announce that you were going to look for porcupines. Freud had surely never reckoned that the porcupine, the desk, the figures, the books, the rugs, would make one final trip with him when he was too old and too ill to be traveling. In 1938 Hitler's forces moved into Austria; soon a swastika was draped over the door of Berggasse 19, and jews were set to work cleaning the streets with toothbrushes. The man reviled as a dangerous jew and as the inventor of an insidious set of theories was in peril. Freud finally caved in to the urgings of his friends and family to leave the city. It took some pressure from friends of international stature to get him out, and also payment of a ransom to allow his valuables to leave. When Freud moved into 20 Maresfield Gardens, his son Ernst and the family maid, Paula Fichtl, had already arranged the objects in his study as closely as possible to the way they'd been in the Vienna room. His greatly loved daughter Anna, a distinguished analyst in her own right, who lived in the house until her death in 1982, left the place largely as it had been when her father died.
Somewhere in that room, stuffed into curio cabinets or crammed into drawers, are the last items Freud ever bought from Robert Lustig. One day in March 1938, warned by a policeman friend that the Nazis were taking all the jews to concentration camps," the dealer filled his pockets with a few small items from his showcase, closed his shop and headed for the Czech border on his way to America. But first he made a stop at Berggasse 19. He needed money, a small sum to help him get out of Austria. There was never a doubt in his mind that Freud would help, and so he did. Lustig left behind his pocketful of old pieces and went off with a little cash and the professor's good wishes ringing in his ears. "Lots of luck to you," he remembered Freud saying. "I have to go, too."



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李賦寧先生/ 艾略特文学论文集、The Waste Land by T.S. Eliot/Valerie Eliot 1926-2012, -The Cambridge Companion to T. S. Eliot

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 Serious readers will prefer their Eliot without ellipses.--The Cambridge Companion to T. S. Eliot, p.238
 He did not want his executors" to facilitate or countenance the writing of any biography of me." p.242


阿加莎:......我只是在觀望和等待。這個世界上,
一切都是不可解釋的,解決辦法得去另一個世界裡尋找。
----T.S. Eliot《家庭團聚》(The Family Reunion (1939) )


TS Eliot 50 years on – quiz

One of the 20th century's most influential poets, Eliot died 50 years ago this month. He often wrote of the fragility of memory, but much do you recall about his work?

TS Eliot in 1941
The cruellest quiz ... TS Eliot in 1941. Photograph: Rex Features
  1. 1.Who was the “miglior fabbro” to whom The Waste Land was dedicated?
  2. 2.Which of these household items is not mentioned in Eliot’s The Love Song of J Alfred Prufrock?
  3. 3.In Old Possum’s Book of Practical Cats, who is “the master criminal who can defy the Law”?
  4. 4.From where did Eliot borrow the original title for The Waste Land, He Do the Police In Different Voices?
  5. 5.Which popular nursery rhyme is mentioned at the end of The Waste Land?
  6. 6.Which of these is a phrase from Eliot’s The Love Song of J Alfred Prufrock?
  7. 7.Which religious building is central to Eliot’s play Murder in the Cathedral?
  8. 8."No water. Dry rocks and dry throats,/ Then thunder, a shower of quotes/ From the Sanskrit and Dante./ Da. Damyata. Shantih./ I hope you'll make sense of the notes." Whose Waste Land parody?
  9. 9.Which work is sometimes referred to as Eliot’s "conversion poem"?
  10. 10.Before becoming established as a towering presence in literature, Eliot worked for a bank. Which one?

The Waste Land by T.S. Eliot

荒原驚動日本

田村隆一詩文集1974 p.187
提到某日譯本為

夏天伴著驟雨
來到史....湖上
使我們驚奇了

可是原詩為:
Summer surprised us, coming over the Starnbergersee
With a shower of rain; we stopped in the colonnade,*
這讓田村隆一知道:日語是不能經驗的語言
這種感嘆也出現在本書前面


*

The Waste Land by T.S. Eliot as hypertext

 - [ 翻譯此頁 ]A hypertext presentation of TS Eliot's poem, 'The Waste Land'. ... Summer surprised uscoming over the Starnbergersee With a shower of rain; we stopped in ...


T.S. Eliot
T.S. Eliot
T.S. Eliot was born on this date in 1888. The author of The Waste Land (1922), he won the Nobel Prize for Literature in 1948. Eliot was born in Missouri, but moved to England in 1914, where he remained until his death. His plays include Murder in the Cathedral (1935) and The Cocktail Party (1949). One of Eliot's most famous poems is his early work, "The Love Song of J. Alfred Prufrock" (1915). Eliot's children's book, OldPossum's Book of Practical Cats (1939), was the inspiration for the hit musical Cats. He has said, "When a Cat adopts you there is nothing to be done about it except put up with it until the wind changes."

Quote
"Only those who will risk going too far can possibly find out how far one can go."T.S. Eliot

瓦萊麗·艾略特|1926-2012

詩人T·S·艾略特之妻去世


瓦萊麗·艾略特(Valerie Eliot)在T·S·艾略特(T. S. Eliot)人生的末期與他結婚,之後堅定地維護他的文學遺產,長達約半個世紀之久。她於周五(11月9日)在倫敦去世,享年86歲。
艾略特遺產委員會宣布了她的死訊。
艾略特夫人比丈夫差不多小38歲;她在費伯-費伯出版社(Faber & Faber)為他做了幾年秘書,1957年二人結婚。根據各種記載,他們的婚姻很幸福。像很多人一樣,她認為艾略特是20世紀最偉大的詩人之一,她從十幾 歲就非常喜愛他的詩;她努力在費伯-費伯出版社找工作,就是因為他在那裡。
艾略特非常嚴格地保護自己的隱私;他於1965年去世,遺囑中明確指出不允許傳記作家在他的人生中大肆搜尋素材。妻子成了他遺產的管理人,她很少批准別人引用他的作品,更是始終拒絕學者們與可怕的傳記作家們為他樹碑立傳。
而她自己編輯了一本備受推崇的《荒原》(The Waste Land)版本,裡面包括原稿的複印件和抄寫本,以及經編輯過的埃茲拉·龐德(Ezra Pound)的注釋。她還同意把丈夫寫給孩子們的一本詩集改編成戲劇;那本詩集叫《老負鼠的貓經》(Old Possum’s Book of Practical Cats),改編成的音樂劇就是《貓》(Cats);這給她自己和遺產委員會帶來了巨額財富,她用這些錢創立了一個慈善信託基金。
她晚年的主要工作是編輯丈夫的書信,雖然在將近25年的時間裡,只在1988年出版了從1898年到1922年這一卷,也就是艾略特10歲到34歲的這段時間——這讓有些人懷疑她把這些素材看得太過私人化了。
“瓦萊麗·艾略特花了30年的時間編輯她已故丈夫的信件,”凱倫·克里斯蒂安森(Karen Christiansen)2005年的時候這樣寫道;她曾幫助艾略特夫人編輯第一卷,後來在馬薩諸塞州成立了伯克利出版集團(Berkeley Publishing Group),“我為她工作的時候,經常懷疑她可能連一封信都不會公開,當第一卷出版的時候,我鬆了一大口氣。”
克里斯蒂安森女士接著說,儘管艾略特夫人聲稱填補這些信件的空白非常耗時,儘管“她一絲不苟地對待編輯工作”,但是“她不願意出版下一卷書信集不只是因為學術的問題”。
後來在聯合編輯的幫助下,艾略特夫人2009年出版了艾略特書信第一卷的修訂版;第二卷(1923-1925)也於2009年出版;第三卷(1926-1927)去年出版。第四卷有望於2013年出版。
埃斯米·瓦萊麗·弗萊徹(Esmé Valerie Fletcher)1926年8月17日出生於英國利茲市。她做保險生意的父親是個書蟲,把自己對詩歌的熱愛傳給了女兒。她說她14歲時聽了約翰·吉爾古 德(John Gielgud)朗讀的《麥琪之旅》(Journey of the Magi)之後,就愛上了艾略特——至少是愛上了他的作品。
學業結束之後,她在利茲大學的圖書館工作,然後給小說家查爾斯·摩根(Charles Morgan)做秘書。後來她聽她們家的一個認識艾略特的朋友提起艾略特在尋找一位秘書,她還去申請了這個職位。
艾略特的第一任妻子是薇薇安·海伍德(Vivienne Haigh-Wood),他們是在牛津相遇的。他們的婚姻極其痛苦,很多人推測他在這場婚姻中付出的沉重的情感代價,體現在《荒原》里他對20世紀的絕望評價之中。
海伍德是個精神紊亂的女人,1938年她和艾略特正式分居5年後,她的哥哥把她送到了療養院。1947年她去世時,從法律上講他們仍然是夫妻,但是艾略特實際上早已離開了她。第二年,他贏得了諾貝爾文學獎。兩年之後,瓦萊麗·弗萊徹來到費伯-費伯出版社工作。
艾略特的第二任妻子細心地照顧他,監督他少抽雪茄——他有肺氣腫,醫生只允許他一周抽一根雪茄——雖然有時他們也出去旅行,通常是去往那些有益於他的健康的溫暖的地方,但是他們主要是呆在家裡,生活很平靜。
“婚姻生活很適合他,他天性如此,他有愛心,也很風趣,”1994年艾略特夫人接受採訪時說。“我們過去總是呆在家裡,喝杜林標(Drambuie)利口酒,吃奶酪,玩拼字遊戲。他打牌總想贏,該上床睡覺的時候,我就故意輸掉。”
她丈夫去世後,有些人說他冷酷、自戀,說他是反猶太分子,對第一任妻子冷酷無情、自私自利,這些都讓她很傷心。她很少公開回應,不過1994年上映 的一部關於艾略特第一次婚姻的電影《湯姆和薇芙》(Tom & Viv,主演是維勒姆·達福[Willem Dafoe]和米蘭達·理查森[Miranda Richardson]),讓她忍無可忍,開口回應。
電影改編自邁克爾·黑斯廷斯(Michael Hastings)的劇本,把艾略特描繪成那場婚姻的罪魁禍首,暗示薇薇安·海伍德可能已經寫出了《荒原》的大部分內容。在《獨立報》(The Independent)的長篇採訪中,艾略特夫人從各個方面為丈夫辯護,甚至拿出了一些信件的複印件,來反駁電影中的負面斷言,包括薇薇安在被拒絕進入費伯-費伯出版社辦公室之後,把融化的巧克力倒入郵箱那個情節。
艾略特夫人說,費伯出版社的門永遠都是敞開的,所以巧克力的故事是捏造出來的。
“湯姆喜歡的是加巧克力醬的香草冰激凌,”她補充說,“有一次他在餐廳里吃這種冰激凌,坐在他對面的一個男人說,‘我不能理解像你這樣的詩人怎麼能吃那種東西。’湯姆稍微停頓了一下,說,‘哦,因為你不是詩人’,就又接着吃起來了。”
翻譯:王艷



******
艾略特文学论文集 1994= RMB 13.2/ 2010=RMB 37.0



換句話說 書價16年間 300%

李賦寧先生的艾略特文学论文集選文很用心 ,注解也很好,  可惜錯字相當多。




****


譯人(三十):我所不知道的先生2004/10/22

2004/10/21 錄馮象先生的話:「我這輩子很幸運,碰到的都是一流的老師,我上北大後,領我入門的是甯先生,……他們那代人是有學問的,我特別相信一代不如一代,人類文明的衰落不可避免。」

覺得應該查一下先生,不過沒什麼收獲。只知道他父親是水利專家,與錢鍾書等都師從過吳宓先生。後來當上北京大學西語系主任,造就一些人才。再一則:英語專業是深圳大學最早成立的專業之一,由國內英語界著名學者教授親手創辦。

/著 <英語學習經驗談>,
<英語史>商務印書館,1991【我有,這是大學高年級/研一之教材;從前言中可以了解許多。如果我們碰到北京大學出版社翻印的<劍橋大學英語史>,我們不必驚訝為什麼…….】
總主編<歐洲文學>史 商務印書館.

TS.Eliot《艾略特文學論文文集》(譯),南昌:百花洲文藝,1994一版一刷。
【這本沒有看過,相當遺憾。】

【王佐良先生在《英國二十世紀文學史》(1994)的"序"中提出建立具有中國特色的外國文學史的模式的五條原則:(1)歷史唯物主義觀點;(2)敘述體;(3)生動具體,有文采;(4)準確無誤,符合歷史事實和真相;(5)文筆簡練。先生正確地指出:這幾條原則"對我們今後編寫外國文學史具有可貴的參考價值。"】
大家再談點「直書其事」(jarvisdd 留言) :孔子,董狐,直筆

20世纪欧美文论丛书-艾略特文学论文集

20世纪欧美文论丛书-艾略特文学论文集

作者: T.S艾略特
译者:

20世纪欧美文论丛书-艾略特文学论文集

20世纪欧美文论丛书-艾略特文学论文集

作者: T.S艾略特
译者: 李赋宁
ISBN: 9787805796253
页数: 278
定价: 13.2
出版社:百花洲文艺
丛书:20世纪欧美文论丛书
装帧:精装32
出版年: 1994ISBN: 9787805796253
页数: 278
定价: 13.2
出版社:百花洲文艺
丛书:20世纪欧美文论丛书
装帧:精装32
出版年: 1994

Europe’s Empty Churches Go on Sale;The House of God: Church Architecture, Style and History (1990); Christianity and the World Order Book based on the BBC Reith Lectures (1979)

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The original St Nicholas Greek Orthodox Church - a tiny townhouse standing right below the Twin Towers - was destroyed when the South Tower collapsed after the attacks on 11 September, 2001http://bbc.in/14zZY8X
Now work has begun on a reconstruction of the church designed by acclaimed Spanish architect and engineer Santiago Calatrava.
All of the photos and renderings presented here have been provided to us courtesy of Santiago Calatrava.
The church will be the only non-secular building at Ground Zero http://bbc.in/14zZY8X
Many believe it will become one of the most visited churches in the US http://bbc.in/14zZY8X
The church is planned to be completed by Easter 2017 http://bbc.in/14zZY8X
The new church will be a small building, made of stones extracted in Vermont and covered by a cupola that lights up from the inside at night. http://bbc.in/14zZY8X
BBC World News 在「 Calatrava rebuilds church at Ground Zero 」相簿新增了 5 張相片 — 在 Ground Zero 。
The original St Nicholas Greek Orthodox Church - a tiny townhouse standing right below the Twin Towers - was destroyed when the South Tower collapsed after the attacks on 11 September, 2001 http://bbc.in/14zZY8X
Now work has begun on a reconstruction of the church designed by acclaimed Spanish architect and engineer Santiago Calatrava.
All of the photos and renderings presented here have been provided to us courtesy of Santiago Calatrava.

The closing of Europe’s churches reflects the rapid weakening of the faith in Europe.


Hundreds of churches around Europe have closed or are threatened by plunging membership, posing a question for communities: What to do with the once-holy, now-empty buildings?
WSJ.COM|由 NAFTALI BENDAVID 上傳


The former Roman Catholic Church of St. Joseph in Arnhem, Netherlands, one of hundreds of decommissioned churches, was turned into a skate park. MERLIJN DOOMERNIK FOR THE WALL STREET JOURNAL
ARNHEM, Netherlands—Two dozen scruffy skateboarders launched perilous jumps in a soaring old church building here on a recent night, watched over by a mosaic likeness of Jesus and a solemn array of stone saints.
This is the Arnhem Skate Hall, an uneasy reincarnation of the Church of St. Joseph, which once rang with the prayers of nearly 1,000 worshipers.
It is one of hundreds of churches, closed or threatened by plunging membership, that pose a question for communities, and even governments, across Western Europe: What to do with once-holy, now-empty buildings that increasingly mark the countryside from Britain to Denmark?
The Skate Hall may not last long. The once-stately church is streaked with water damage and badly needs repair; the city sends the skaters tax bills; and the Roman Catholic Church, which still owns the building, is trying to sell it at a price they can’t afford.
“We’re in no-man’s-land,” says Collin Versteegh, the youthful 46-year-old who runs the operation, rolling cigarettes between denouncing local politicians. “We have no room to maneuver anywhere.”
The Skate Hall’s plight is replicated across a continent that long nurtured Christianity but is becoming relentlessly secular.
ENLARGE
The closing of Europe’s churches reflects the rapid weakening of the faith in Europe, a phenomenon that is painful to both worshipers and others who see religion as a unifying factor in a disparate society.
“In these little towns, you have a cafe, a church and a few houses—and that is the village,” says Lilian Grootswagers, an activist who fought to save the church in her Dutch town. “If the church is abandoned, we will have a huge change in our country.”
Trends for other religions in Europe haven’t matched those for Christianity. Orthodox Judaism, which is predominant in Europe, has held relatively steady. Islam, meanwhile, has grown amid immigration from Muslim countries in Africa and the Middle East.
The number of Muslims in Europe grew from about 4.1% of the total European population in 1990 to about 6% in 2010, and it is projected to reach 8%, or 58 million people, by 2030, according to Washington’s Pew Research Center.
For Christians, a church’s closure—often the centerpiece of the town square—is an emotional event. Here people have worshiped, felt grief and joy, and quested for a relationship with God. Even some secular residents are upset when these landmarks fall into disuse or are demolished.
When they close, towns often want to re-create the feeling of a community hub by finding important uses for these historic buildings. But the properties are usually expensive to maintain—and there is a limit to the number of libraries or concert halls a town can financially support. So commercial projects often take the space.
Europe-wide numbers of closed churches are scarce, but figures from individual countries are telling.
ENLARGE
The Church of England closes about 20 churches a year. Roughly 200 Danish churches have been deemed nonviable or underused. The Roman Catholic Church in Germany has shut about 515 churches in the past decade.
But it is in the Netherlands where the trend appears to be most advanced. The country’s Roman Catholic leaders estimate that two-thirds of their 1,600 churches will be out of commission in a decade, and 700 of Holland’s Protestant churches are expected to close within four years.
“The numbers are so huge that the whole society will be confronted with it,” says Ms. Grootswagers, an activist with Future for Religious Heritage, which works to preserve churches. “Everyone will be confronted with big empty buildings in their neighborhoods.”
The U.S. has avoided a similar wave of church closings for now, because American Christians remain more religiously observant than Europeans. But religious researchers say the declining number of American churchgoers suggests the country could face the same problem in coming years.
Many European churches have been centerpieces of their communities for centuries. Residents are often deeply attached to them, fighting pragmatic proposals to turn them into stores or offices.
Mr. Versteegh sees the skate hall as a benefit to the town, saying it serves to protect the building and also gives youngsters a way to enjoy themselves in a constructive way. But he says local Catholic and city leaders refuse to support it, he thinks due to its vaguely rebellious aura. “We don’t know which door to knock on,” he says.
A former Lutheran church in Edinburgh became a Frankenstein-themed bar.ENLARGE
A former Lutheran church in Edinburgh became a Frankenstein-themed bar. FRANKENSTEIN PUB
Church and city leaders deny that, saying they like the Skate Hall but cite its precarious finances. “Collin wants sweet love. We’re going to give tough love,” says Gerrie Elfrink, Arnhem’s vice mayor. “He wants the easy way—‘Give me money and then I’ll have no problems.’ But that’s not sustainable.”
As communities struggle to reinvent their old churches, some solutions are less dignified than others. In Holland, one ex-church has become a supermarket, another is a florist, a third is a bookstore and a fourth is a gym. In Arnhem, a fashionable store called Humanoid occupies a church building dating to 1889, with racks of stylish women’s clothing arrayed under stained-glass windows.
In Bristol, England, the former St. Paul’s church has become the Circomedia circus training school. Operators say the high ceilings are perfect for aerial equipment like trapezes.
In Edinburgh, Scotland, a Lutheran church has become a Frankenstein-themed bar, featuring bubbling test tubes, lasers and a life-size Frankenstein’s monster descending from the ceiling at midnight.
Jason MacDonald, a supervisor at the pub, says he has never heard complaints about the reuse. “It’s for one simple reason: There are hundreds and hundreds of old churches and no one to go to them,” Mr. MacDonald said. “If they weren’t repurposed, they would just lie empty.”
Many churches, especially smaller ones, are becoming homes, and that has spawned an entire industry to connect would-be buyers with old churches.
The churches of England and Scotland list available properties online, with descriptions worthy of a realty firm. St. John’s church in Bacup, England, for example, is said to feature “a lofty nave as well as basement rooms with stone-vaulted ceilings,” and can be had for about $160,000.
A 19th-century church became a clothing store in Arnhem, Netherlands.ENLARGE
A 19th-century church became a clothing store in Arnhem, Netherlands. HUMANOID
The British website OurProperty is less subtle. “Is modern-day humdrum housing your idea of a living hell?” it asks. “Is living in a converted church your idea of heaven above?” If so, “there is a whole congregation of converts and experts out there ready to help you make the leap of faith.”
Unused churches are now a big enough problem to attract the attention of governments as well. The Netherlands, along with religious and civic groups, has adopted a national “agenda” for preserving the buildings. The Dutch province of Friesland—where 250 of 720 existing churches have been closed or transformed—fields a “Delta team” to find solutions.
“Every church is a debate,” says Albert Reinstra, a church expert at Holland’s Cultural Heritage Agency. “When they are empty, what do we do with it?” Preservationists say there often isn’t the money needed to create new community-oriented uses for the buildings.
That debate can play out personally and painfully. When Paul Clement, prior of the Augustinian Order in the Netherlands, joined in 1958, the order had 380 friars; now it is down to 39. His monastery’s youngest friar is 70, and Father Clement, himself 74, is developing plans to sell its church.
“It is difficult,” Father Clement says. “It’s sad for me.”
In the U.S., church statisticians say roughly 5,000 new churches were added between 2000 and 2010. But some scholars think America’s future will approach Europe’s, since the number of actual churchgoers fell 3% at the same time, according to Scott Thumma, professor of the sociology of religion at Connecticut’s Hartford Seminary.
Mr. Thumma says America’s churchgoing population is graying. Unless these trends change, he says, “within another 30 years the situation in the U.S. will be at least as bad as what is currently evident in Europe.”
At the Arnhem Skate Hall, the altar and organ of the church, built in 1928, have been ripped out, while a dusty cupboard still holds sheet music for a choir that hasn't sung in 10 years. A skateboard attached to a wall urges, “Ride the dark side.”
Two dozen young men speed along wooden ramps and quarter-pipes, their falls thundering through the church, as rap music reverberates where hymns once sounded. An old tire hangs on the statue of a saint.
The former St. Paul’s church in Bristol, England, is now the Circomedia circus training school.ENLARGE
The former St. Paul’s church in Bristol, England, is now the Circomedia circus training school. CIRCOMEDIA
Pack Smit, 21, a regular visitor, says the church ambience enhances the skating experience. “It creates a lot of atmosphere—it’s a bit of Middle Ages,” he says, between gulps from a large bottle of cola. “When I first saw it, I just stood there for five minutes staring.”
Another regular, Pella Klomp, 14, says visitors occasionally stop by to complain. “Especially the older people say, ‘It’s ridiculous, you’re dishonoring faith,’ ” he says. “And I can understand that. But they weren’t using it.”
Mr. Versteegh, who oversees the hall, says city and church leaders won’t discuss their plans with him. The church needs about $3.7 million in maintenance, he estimates, and would cost $812,000 to buy, including the rectory—far beyond his resources.
Father Hans Pauw, pastor of St. Eusebius Parish, confirms the parish is trying to sell the church, but says church leaders have no problem with skaters using it for now. He said the parish is talking to a potential buyer.
“There are some things we don’t want—a casino or a sex palace or that kind of thing,” Father Pauw says. “But when it’s no longer a church in our eyes, then it can have any purpose.” As for the painting of Jesus holding a skateboard that now adorns the interior, he says, “I can see the humor in it.”
Mr. Elfrink, the Arnhem vice mayor, insists the city has done what it can to support the Skate Hall, helping fund the wooden skating floor and paying last year’s tax bill. “I hope it can stay a skate hall,” Mr. Elfrink says.
Mr. Versteegh sometimes wonders if it will. “Is there any point in continuing to do this if nobody is supporting you?” he says. “You have a building of value—historic value, cultural value—that is still owned by the Catholic Church. But there are no worshipers anymore.”







----
The House of God: Church Architecture, Style and History (1990)Published by Thames & Hudson, U.S.A. (1990)
  • Secularisation (2002)
  • Anglican Difficulties (2004)
  • The Mercy of God's Humility (2004)
  • The Roman Catholic Church (2006)
  • Secularisation, and The House of God: Church Architecture, Style and History (1990)
http://en.wikipedia.org/wiki/Edward_Norman

Edward Robert Norman (born 22 November 1938) was Canon Chancellor of York Minster and is an ecclesiastical historian.
Norman was educated at the Sir George Monoux Grammar School in Walthamstow, London. He won an Open Scholarship to Selwyn College, Cambridge, of which he was a Fellow (1962-4), before moving to Jesus College as a Fellow. Norman lectured in history at theUniversity of Cambridge; he is an emeritus Fellow of Peterhouse, Cambridge,[1] and was Dean of Peterhouse for seventeen years and Dean and Chaplain at Christ Church College, Canterbury and Professor of History at the University of York. He is a member of thePeterhouse school of history. On 7 October 2012, he was received into the Catholic Church by way of the Personal Ordinariate of Our Lady of Walsingham.[2]
Norman was the BBC Reith Lecturer in 1978. For his series of six radio lectures, entitled "Christianity and the World", he discussed the relationship between religion and politics. Margaret Thatcher once invited him to Chequers, although Norman insists he is not aThatcherite and says he is "appalled by the results of naked capitalism".[3]




Thomas Struth (German, born 1954) | Milan Cathedral (façade), Milan | 1998 | © Thomas Struth

“Thomas Struth: Photographs” celebrates the Museum's unparalleled holdings of work by one of the most important and influential photographers of the last half-century. http://met.org/136rxVK   Tomorrow at 7:00 p.m., NYPL The New York Public Library is hosting a conversation with Struth about his practice, photography, and more. Tickets: http://met.org/1Bso0gx   Thomas Struth (German, born 1954) | Milan Cathedral (façade), Milan | 1998 | © Thomas Struth

  • Christianity and the World Order Book based on the BBC Reith Lectures (1979)

  1. The In-Dwelling Christ

    6/6 Reverend Dr Edward Norman considers the importance of spirituality within Christianity.
    FIRST BROADCAST: 06 Dec 1978
  2. Not Peace, but a Sword

    5/6 Edward Norman explores the religious politics in his lecture 'Not Peace, but a Sword'
    FIRST BROADCAST: 29 Nov 1978
  3. The Imperialism of Political Religion

    4/6 Reverend Edward Norman explores the Imperialism of Political Religion.
    FIRST BROADCAST: 22 Nov 1978
  4. Ministers of Change

    2/6 Reverend Norman explores who the 'Ministers of Change' are in society.
    FIRST BROADCAST: 08 Nov 1978
  5. The Political Christ

    1/6 Reverend Edward Norman examines the politicisation of Christianity.
    FIRST BROADCAST: 01 Nov 1978
  6. A New Commandment - Human Rights

    Reverend Edward Norman contemplates if human rights are the newest form of Commandments.
    FIRST BROADCAST: 15 Nov 1978

Leo Tolstoy托爾斯泰War and Peace 《藝術論》"What Is Art?" /Tolstoy and His Problems

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War and Peace is 150 this year. Sadie Stein on the history of its publication: http://bit.ly/1DCmtFS

2015 marks the sesquicentennial for Tolstoy’s classic—depending on how you count.
THEPARISREVIEW.ORG|由 TIERRA INNOVATION 上傳


BBC Radio 4
We can learn a lot about the art of living from Tolstoy's War and Peace but we can also learn from the life of the master novelist himself. Tolstoy was a member of the Russian nobility, and his early life of the young count was raucous, debauched and violent.
But he gradually weaned himself off his decadent, racy lifestyle and rejected the received beliefs of his aristocratic background, adopting a radical, unconventional worldview that shocked his peers. So how exactly might his personal journey help us rethink our own philosophies of life?
Tolstoy's Secret's For a Better Life http://bbc.in/1xzNta2
Catch up & download War and Peace http://bbc.in/1BniJGY


We can learn a lot about the art of living from Tolstoy's War and Peace but we can also learn from the life of the master novelist himself. Tolstoy was a member of the Russian nobility, and his early life of the young count was raucous, debauched and violent.  But he gradually weaned himself off his decadent, racy lifestyle and rejected the received beliefs of his aristocratic background, adopting a radical, unconventional worldview that shocked his peers. So how exactly might his personal journey help us rethink our own philosophies of life?  Tolstoy's Secret's For a Better Life http://bbc.in/1xzNta2 Catch up & download War and Peace http://bbc.in/1BniJGY


War and Peace, Tolstoy's epic drama set against Napoleon's invasion of Russia, took over the airwaves yesterday. It's an epic tale of love, loss, vanity, death, destruction and redemption. If you've always promised you'll read it but never quite got there - hear this.
Download the dramas, to keep them forever > http://bbc.in/1vON2CC
Catch up > http://bbc.in/1BcnPHK

War and Peace, Tolstoy's epic drama set against Napoleon's invasion of Russia, took over the airwaves yesterday. It's an epic tale of love, loss, vanity, death, destruction and redemption. If you've always promised you'll read it but never quite got there - hear this.   Download the dramas, to keep them forever > http://bbc.in/1vON2CC Catch up > http://bbc.in/1BcnPHK



Leo Tolstoy's 186th birthday: Here's War and Peace in 186 words

Because although we should read it from cover to cover, realistically…
What better way to celebrate the birthday of Leo Tolstoy than to read his monumentally weighty tome War and Peace…?

Well, for those who don't quite have time to get through all 561,093 words (Oxford World's Classics edition) of it,The Independent has produced its own marvellously abridged version.
So, on the 186th anniversary of Tolstoy's birth, here it is; in 186 words.
Petersburg, 1805: glitzy party at Anna Scherer’s. Napoleon is on the march. Kuragins? Flashy, dodgy crowd, especially minx Helene. Rostovs? Nice, penniless Moscow clan, with headstrong son, Nikolai.
Gauche, thoughtful Pierre Bezukhov: a count’s bastard, super-rich (when dad dies) but adrift. Unhappily wed Andrey Bolkonsky’s the real warrior toff, but those dark nights of the soul! Pierre marries flighty Helene.
Catastrophe! Rows, affair, duel, break-up (and Helene’s bad end) guaranteed. Andrey, Nikolai confront Napoleon at Austerlitz: Russian debacle. Widowed, Andrey falls for blooming Natasha, who’s ensnared by married cad Anatol Kuragin.
Do-gooding Pierre tries to save the world: fails.
1812: here’s fateful Napoleon again, making history (but what is history?), invading Russia. Bloody slaughter at Borodino; Russia resists. Andrey’s injured, Pierre a fugitive, then PoW. Rostovs flee as Moscow fall.
Amid the misery, Natasha grows up fast; Pierre too, helped by saintly peasant. Nikolai rescues Maria, the dying Andrey’s sister. Napoleon retreats. Hurrah!
Liberated, Pierre bonds with Natasha; Nikolai and Maria spliced. Poor cousin Sonya, Nikolai’s long-suffering intended! Two new families: happily ever after?
Almost but what does it all (time, history, freedom, destiny) really mean?


From Wikipedia, the free encyclopedia
"What Is Art?" (Russian: Что такое искусство? [Chto takoye iskusstvo?]; 1897) is an essay by Leo Tolstoy in which he argues against numerous aesthetic theories which define art in terms of the good, truth, and especially beauty. In Tolstoy's opinion, art at the time was corrupt and decadent, and artists had been misled.


托爾斯泰《藝術論》耿濟之譯,台北:晨鐘,1972/82,
此譯本可能有不少小錯譬如說  p.28/95 Schiller 雪萊/席勒

上周末,台北懷恩堂有一場關於此論文的解說會. 我缺席.
本書以"基督教藝術的任務就是實現人類友愛的連合."為結語.
The task for Christian art is to establish brotherly union among men. 
 
 What Is Art
 TRANSLATED FROM THE ORIGINAL MS., 
WITH AN INTRODUCTION BY
AYLMER MAUDE
 http://archive.org/stream/whatisart00tolsuoft/whatisart00tolsuoft_djvu.txt
 英文本有附錄譯文為此本漢譯所略去



Tolstoy and His Problems - Page 38 - Google Books Result

books.google.com.tw/books?isbn=0766190013
Aylmer Maude - 2004 - Biography & Autobiography
and to-day we are told by many that art has nothing to do with morality — that art should ... I went one day, with a lady artist, to the Bodkin Art Gallery, in Moscow.

E-books Go Out of Fashion As Book Sales Revive / Amazon Prepares E-Book Subscription Service每月9.99美元的無限量電子書和有聲書服務

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Because reading on a screen is just not the same.

U.K. bookstores report increased demand for physical books
TI.ME




馬遜公司(Amazon.com Inc.)表示將提供每月9.99美元的無限量電子書和有聲書服務,華爾街預計此舉將給亞馬遜帶來最高10億美元的收入增長。

這一名為“Kindle Unilimited”的服務允許讀者無限量閱讀Kindle電子書,并無限量聆聽有聲書。亞馬遜目前擁有60萬種電子書和數千種有聲書。

這一服務可以通過Kindle閱讀器和蘋果iOS系統以及谷歌安卓操作系統中的亞馬遜Kindle應用獲取。亞馬遜稱將為這一服務提供30天免費試用期。 

Amazon Prepares E-Book Subscription Service


Amazon.com AMZN +0.44% appears to be preparing a subscription e-book service offering unlimited access to 600,000 titles, according to details the Web retailer briefly posted to its website.
The service, reported earlier by GigaOm, would be called Kindle Unlimited and allow customers to download select e-books for $9.99 per month. Kindle Unlimited would compete with startups like Oyster and Scribd, which offer 500,000 and 400,000 e-books, respectively, for $8.99 or $9.95 a month.
Among the titles seen on the Kindle Unlimited page were former bestsellers like “Life of Pi,” “Water for Elephants” and “Flash Boys: A Wall Street Revolt.” The page is no longer visible. An Amazon spokeswoman didn’t immediately respond to a request for comment.
Subscription e-books services have struggled to draw the newest releases from publishers, who are reluctant to forgo e-book and physical-copy sales that tend to be more profitable.
Amazon has been aggressively launching new services and products this year, including unlimited streaming music and devices like the Fire TV set-top box and Fire smartphone, due out later this month.
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Astérix et Obélix;Matisse:Father & Son

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這感人的故事引發一些聯想:第一次碰到Astérix et Obélix是1978年,我的牛津大學畢業的同學靦腆地說,他們中學學法語從他倆的漫畫故事開始。我當時有地利之便,讀了幾本......沒想到作者87歲了.....沒錯,一息尚存,人都會做他的天職 (睡前翻Matisse:Father & Son By John Russell,知道Henry Matisse在臨終前一天,仍跟"親人"要紙和筆,為她畫像......),愛他的祖國。













Asterix creator comes out of retirement to declare 'Moi aussi je suis un Charlie'


INDEPENDENT.CO.UK













Albert Uderzo, the 87-year-old creator of the well-loved French comic series Asterix, has come out of retirement to draw a new cartoon to show solidarity with the victims of the Charlie Hebdo attack this week.




The two new cartoon have appeared, the most powerful of which shows Asterix punching an assailant high in to the air, while angrily exclaiming: “Moi aussi je suis un Charlie”, meaning: “I’m Charlie too”.


appears to be a sketch showing the characters Asterix and Obelix stood next to each other, their head bowed and their hats in their hands. Asterix holds a single rose in one hand, and the small Dogmatix is seen looking sadly over his shoulder.


The images have been published in French newspaper Le Figaro, where Uderzo is quoted as saying: “I am not changing my work, I simply want to express my affection for the cartoonists that paid for their work with their lives.”






“How can anyone do something so appalling? How can people claiming to be human beings murder people they have never met but have said something wrong so from that moment, must be killed? This is insanity!”




In pictures: Reaction to Charlie Hebdo attack

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“Young cartoonists are taking up the mantle now and I wish them courage. They will always remember the atrocity that happened to their colleagues, which no one could have predicted,” he said.









Twelve people were killed when the offices of satirical French magazine Charlie Hebdo was attacked on Wednesday. Ten of those killed were staff members of the magazine, and two were French police officers, one of whom was Muslim.

How to Maintain Basic Values in a Skeptical WorldC / hanging Minds: The Art and Science of Changing Our Own Mind and Other People's Minds

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Professor Howard Gardner is revisiting how postmodern cynicism and the cyber age has threatened the core virtues of truth, beauty, and goodness.

Developmental psychologist Howard Gardner discusses the time-tested values of truth, beauty, and goodness.
NEWS.HARVARD.EDU





Changing Minds: The Art and Science of Changing Our Own Mind and Other People's MindsMinds are exceedingly hard to change. Ask any advertiser who has tried to convince consumers to switch brands, any CEO who has tried to change a company's culture, or any individual who has tried to heal a rift with a friend. So many aspects of life are oriented toward changing minds--yet this phenomenon is among the least understood of familiar human experiences. Now, eminent Harvard psychologist Howard Gardner, whose work has revolutionized our beliefs about intelligence, creativity, and leadership, offers an original framework for understanding exactly what happens during the course of changing a mind--and how to influence that process. Drawing on decades of cognitive research and compelling case studies--from famous business and political leaders to renowned intellectuals and artists to ordinary individuals--Gardner identifies seven powerful factors that impel or thwart significant shifts from one way of thinking to a dramatically new one. Whether we are attempting to change the mind of a nation or a corporation, our spouse's mind or our own, this book provides insights that can broaden our horizons and improve our lives. Howard Gardner is the John H. and Elisabeth A. Hobbs Professor of Cognition and Education at the Harvard Graduate School of Education and senior director of Harvard Project Zero. The recipient of a MacArthur Prize Fellowship and 20 honorary degrees, he is the author of more than 20 books.




改變想法的藝術 聯經出版 2006

霍華德.嘉納(Howard Gardner)

 
精彩書摘
目錄自 序導 讀第 1 章 想法的內容第 9 章 改變自己的想法第 10 章 後記:改變想法的未來
 
作者/譯者/編者.簡介
作者簡介
霍華德.嘉納(Howard Gardner),1983年提出著名的多元智能理論,目前為哈佛教育研究所的認知與教育學教授,並擔任哈佛大學「零點計畫」(Project Zero)資深主任。他曾獲麥克阿瑟研究獎助(MacArthur Fellowship),並榮獲20個榮譽學位,著有20餘本著作。

譯者簡介
莊安祺,台灣大學外文系畢業,美國印地安納大學英美文學碩士,現任職傳播媒體。譯作豐富,包括《感官之旅》、《工作AQ》、《打造美體小舖》、《大投資潮》……等書。
 
內容簡介
怎樣會讓你改變想法?
想想你曾經怎麼鼓起如簧之舌,想改變別人對於某個關 鍵事物的想法?你想說服選民投票的傾向、說服顧客對某個品牌的看法、說服老婆對裝潢的品味、說服孩子對功課的態度。雖然你使出渾身解數,但結果依舊可能無 法成功。這麼常見、這麼常做的努力,為什麼如此奧秘難解?人怎麼會固執成見?究竟怎樣才能改變想法?

在這本劃時代的鉅著中,舉世聞名的哈佛心理學 者嘉納對這樣玄妙的謎題,提出了驚人的見解,扭轉我們在工作、家庭、生活中每一個層面和人互動的方式。過去30年來,嘉納的作品徹底顛覆了世人對智能、創 造力、領導能力的想法,如今他再度提出創見,認為想法是突如其來的改變這種傳統的思維完全謬誤。他以實際例證深入淺出地說明,我們是一步步地逐漸改變想 法,這個過程清晰明確,而我們也可以在這樣的過程中,受到積極而強烈的影響。
嘉納由數十年來的認知研究中,找出七種能協助或阻撓改變想法的關鍵, 他提出原創的架構,並佐以名聞遐邇或日常的實例,說明在政、商、科學、藝術和日常生活等領域中,個人如何衡量這些關鍵,在觀點與行為上做出極大的改變。由 柴契爾夫人的政策,到英國石油公司執行長布朗恩(John Browne)的旋乾轉坤,由達爾文的演化革命,到配偶、朋友的互動,到改變個人想法的決定,對於在各種不同背景之下影響心意改變的因素,作者發現了許多 驚人的異同之處。

本書非但揭開人類行為中隨處可見改變心意的現象之謎,也提出發人深省的想法,擴展我們的視野,也提升我們的生活。

試閱:
Changing Minds.pps

第一篇:兩位總統的書信往來

第二篇:改變自己的想法

內容簡介
「任何必須領導大家做改變的人,都得面對改變想法的挑戰──並從自己改變起。心理學大師嘉納以敏銳的洞察力、清晰的視野,和發人深省的探索,深入人類心志這方天地。這是任何領導人都不能錯過的必讀好書。」
──《打造新領導人》、《EQ》作者 丹尼爾‧高曼(Daniel Goleman)

「人在完成工作的過程中,幾乎都會經歷改變想法的轉折。這本精彩而充滿趣味的書告訴我們改變想法的意義,也讓我們做好準備。」
──紐約證交所董事長兼執行長 約翰‧瑞德(John S. Reed)

「當代最傑出的心理學者提出了這個領域最深奧的問題:人怎麼改戀想法,又是在何時做出改變?嘉納在這本劃時代的鉅著中提出了精彩的解答。」
──《學習樂觀‧樂觀學習》作者 馬汀‧塞利格曼(Martin Seligman)

「嘉納探究了多少世紀以來的謎──心靈,不論是我們自己還是他人的心靈,是怎麼受到影響,進而產生改變。他的答案對我們的日常生活──從辦公室到學校體系,從宗教到恐怖主義,都有豐富且深入的啟發。」
──南加大商學院教授、《奇葩與怪傑》作者 華倫‧班尼斯(Warren Bennis)

本書特色
◎前三章為理論陳述,之後的文章則舉實例說明。
◎透過多元智能的論述,了解改變想法的方式。
◎探討造成改變想法的七大因素。

【目次】
第1章 想法的內容
第2章 想法的形式
第3章 童年時期的理論
第4章 領導組成分子差別極大的國家
第5章 領導一個機構:如何處理大部分人的想法
第6章 間接改變想法:經由科學發現、學術突破、藝術創造來改變
第7章 學校等正式教學機構如何改變學生想法
第8章 改變親密人的想法
第9章 改變自己的想法
第10章 總結:想法改變的未來



 兩位總統的書信往來

亞當斯(John Adams)和傑佛遜(Thomas Jefferson)兩人是在美國大革命時相識相知,他們倆都是大陸會議(Continental Congress)的成員,都是「獨立宣言」的起草人(當然,是由傑佛遜執筆),在接下來的歷史歲月中,也是忠實的黨員。年紀較長的亞當斯出身政治世家, 很早就獻身殖民地人民的福祉,他的作風是直截了當、隨時準備戰鬥、自信自負的。而來自維吉尼亞的傑佛遜比亞當斯年輕7歲,比較富有外交手腕。他是博學多聞 的思想家,也頗有文采,他雖然和亞當斯有同樣的雄心壯志,卻不喜歡正面衝突,而寧可在幕後運作。亞當斯和傑佛遜自1770年代起成為戰友,雙方也自稱是朋 友,然而到十八世紀結束時,兩人卻因私人和政治因素而成為勁敵。只是更神奇的是,兩人在黃昏之年,卻又克服了多年來的不和,重新又成為朋友──雙方顯然都 改變了對對方的想法,甚至也可能改變了對自己的想法。

在美國革命出其不意地成功之後,亞當斯和傑佛遜都在歐洲進行外交工作──亞當斯在倫敦,而傑佛遜在巴黎,這是兩人最親近的時期。他們互相寫了許多信給對 方,一起旅行,一起種花蒔草,一起聊天,也自認雙方是密友。據亞當斯太太說,沒有人能像傑佛遜那樣,和她先生合作無間。然而即使是在這相對較平和的期間, 兩人的關係依舊有緊張的跡象。他們倆在風格和政治理念上的不同已經出現:傑佛森是徹頭徹尾的民主主義者,對社會大眾抱著更多的信心,而亞當斯則不相信烏合 之眾。傑佛遜寫信給朋友,把亞當斯描述為「毒草」,說他虛浮盲目,稱他為「易怒暴躁,不會思量人們動機可能產生的效果」。

1789年,美國憲法和人權宣言已成為美國的基本大法,華盛頓(George Washington)當選第一任總統,亞當斯任副總統,傑佛遜任國務卿,然而他們未來的政治前景還是一片朦朧,兩人都還未正式宣告競選總統的雄心,但全 美人民都已認定兩者之一一定會繼華盛頓之後任總統,而後來兩人果然也都擔任總統。雖然這兩位朋友在理論上應該可以為共同的目標而努力,但事實上他們卻分道 揚鑣,兩人互相誹謗,傑佛遜表面上說:「我們之間有許多流長蜚短」,但私下卻說,這些流言的來源正是亞當斯,亞當斯陣營聽到了這樣的攻訐,其子約翰‧昆 西‧亞當斯(John Quincy Adams,亞當斯總統之長子,美國第六任總統)請傑佛遜解釋。傑佛遜發了一封措詞溫和的道歉函給老亞當斯,信中說:「我們倆對政府最佳的形式看法各不相 同,雙方都早已熟知,但我們歧異之處正是朋友該有差別之處。」老亞當斯雖稍被安撫,但仍不忘藉機教訓傑佛遜:「就我記憶所及,你我從未對政府的本質有過深 入的探討。」老亞當斯在1794年1月3日寫給兒子的家書上,也指責傑佛遜說:「他是在知識和道德領域中最難以捉摸的畜生……他就像克倫威爾 (Oliver Cromwell)一樣野心勃勃,他的靈魂滿載著野心。」

兩人之間重建情誼(或至少能緩和緊張)的最後機會是1796年聯邦黨員亞當斯以些微之差當選總統時,共和黨的傑佛遜被任命為副總統。傑佛遜寫了一封誠懇的 信給亞當斯,恭喜他,並表支持之意,但他同為維吉尼亞同鄉的好友兼顧問麥迪遜(James Madison)卻勸他不要寄出這封信。麥迪遜說,如果傑佛遜想要繼續反聯邦黨,想要在未來競選總統,就不能表示支持亞當斯。

在亞當斯命運多舛的一任總統任期內,他和傑佛遜的關係繼續惡化。有一年多,兩人甚至沒有交談,傑佛遜也盡可能利用每一個機會,強調他和亞當斯之間在觀點和 性情上的不同。亞當斯當然不會置身事外,他聽到傑佛遜的批評,也指責傑佛遜的腦袋「被野心侵蝕成了蜂巢,脆弱、混亂、愚昧無知。」

1801年,傑佛遜繼亞當斯之後,擔任美國第三任總統,兩人形同陌路。由1801至1812年有11年之久,兩人非但未曾交談,甚至連信也不曾通過一封(有趣的是,傑佛遜卻和亞當斯性情活潑的夫人通信,使兩人的關係更加緊張)。

到十九世紀進入第二個十年時,已經沒有人會期待年近70歲的傑佛遜和70多歲的亞當斯會和解了,若非兩人的朋友費城醫生羅許 (Benjamin Rush)巧妙地介入,兩位黨國元老恐怕一輩子不會再恢復友誼。1809年,羅許把他的夢境告訴亞當斯,說他夢到這兩位卸任元首又成為親密好友(他用的是 「對手朋友」一詞),這個催化劑出乎意料地感動了亞當斯,他在1812年元旦寫了一封簡短但懇切的便箋給傑佛遜,雖然傑佛遜誤會了其中一小段的意思,但這 個誤解並沒有阻礙這封信的意義,甚且還使它更顯親切。

其餘的故事大家耳熟能詳。在接下來15年(直到他們去世為止,而且他們去世的日子非常巧合,竟是在1826年美國國慶7月4日當天),兩人共有158封書 信往返,剛開始只是談論雙方的嗜好,但逐漸地談起嚴肅的議題,討論他們相左的意見(貴族政治的本質、君王主義和烏合之眾統治的相對風險),也交換他們共同 的想法和心得。亞當斯在較早的一封信中說:「在你我尚未向對方說明解釋自己的看法之前,我們都不可死亡。」當然那時兩人都明白他們所寫的書信會記入青史, 但我們依然不可忽視這種書信往返的人性和人情層面。

我認為這兩人真正恢復了友誼,兩人也真正地改變了想法。我也相信這樣的改變之所以發生,是因為兩人都能接受,甚至重視他們之間的相異和相同之處。亞當斯依 舊是亞當斯──依舊好鬥、愛天馬行空地聊天,傑佛遜則依舊是傑佛遜,靈巧、細膩、不愛當面衝突。兩人對自己的觀點都不退讓,但同時也留了一點空間,讓對方 能夠調整他的立場,而不致讓這樣的溝通成為戰場。而無疑的,由於年歲增長,火氣漸消,再加上雙方也都明白自己成為歷史人物,因此消弭、或至少化解了兩人之 間不少的緊張。兩人都覺得該把過去誹謗的言詞怪罪在外在的環境,或是其他抱持惡意的個人,而強調他們的友誼,這段友誼是發生在更早期,在美國革命初始階段 時建立,且因兩人共同在外交和建國方面的努力而持續。

然而若非這兩人澄清誤會,就不可能重新再續友誼。傑佛遜在初任總統時,曾以尖酸刻薄的言語描寫亞當斯,稱他為倒退的思想家,只會反對各種形式的進步。後來 在這封信曝光之後,亞當斯要他舉出證據,傑佛遜明白自己犯了錯,於是表示他指的不是亞當斯,而是假裝支持亞當斯、其實反對他的人。心高氣傲的亞當斯則繼續 指出,在他任總統期間不該算在他頭上的帳。據史學家艾利斯(Joseph Ellis)指出:「這是兩人通信之中最關鍵的一刻……兩人的對話不再是黨國元老的裝腔作勢,而是對於革命遺產不同看法的討論。」最後,傑佛遜把兩人長久 以來不同的觀點融入了更宏觀的視野之中:

目前鼓動美國人民的同樣兩個政 黨,自立國以來就已存在……我們分裂為兩個政黨……這是你我首次分開。而由於我們在公共舞台上都比一般人久,對國人而言,我們的名字也比其他人的名字更熟 悉,因此認同你的想法的黨派奉你的名字為領袖,而另一黨則以同樣的理由選擇了我的名字為領導人……如你所指出的,我們犧牲了自己,成為民眾討論的被動對 象……至於現在分裂我們國家的同一問題:每個人依據他的想法和處境,選擇他的那一邊。

即使這段歷史上的書信往來是發生在近兩世紀之前,早在任何現代科技足以記錄之前,但兩人能夠把他們的想法形諸書信文字的能力,使我們得以描繪出他們的友 誼、疏離,和再續情誼的過程。我們可以在這個紀錄中看到,在兩位卸任元首人生最後15年的書信往返中,都調整了自己的立場──這樣的改變是要重修友誼必要 的條件。和桑默斯─韋斯特的對立比較起來,兩位前總統都在尋覓共同的立場:不論是理性抑或是感性的考量,在直接或間接的辯論,抑或在個人與政治方面的意見 上。兩個人都刻意指出過去雙方意見一致的往事,闡釋目前雙方見解相同的時事,而且不再重複雙方都默認對方可各執己見的議題(如奴隸之命運)。傑佛遜承認他 在某些議題上犯了錯(比如法國大革命),並且為死忠人士對亞當斯所做的惡意攻擊道歉;唯有偉人才能承認這樣的錯誤。而亞當斯也稱賞接納他的致歉,他曾說傑 佛遜的一封信是「我這輩子所接到最堪告慰的信」。在傑佛遜受到攻擊,指責他刪除了「獨立宣言」某些文字時,他也為傑佛遜辯護。在這裡顯現的是真正的施與受 ──兩人都無意主宰這樣的來往。他們倆都能為用字遣詞、文學典故,或是誰受的誹謗較多而互開玩笑,都能同情對方所受的痛苦和折磨。幸好他們倆都喜歡且善於 寫作,因此這樣的溝通形式對兩人都輕鬆自在,能夠鼓舞他們,使他們能有所獲。兩人都能揣摩對方的心境,而兩人的心境也能越來越接近──雙方都改變了想法。 最後超越了理性、超越了時事,兩人重新建立共鳴,重塑友誼。老亞當斯後來向姻親昆西(Josiah Quincy)說:

我不相信傑佛遜先生曾恨過我, 相反的,我相信他一直都喜歡我……當時他想當美國總統,但我阻礙了他,所以他盡一切可能扳倒我,但若我為此而和他爭吵,那麼我也該和我一生中所有和我有關 的人爭吵。這是人性……傑佛遜先生和我已經老了,也由公眾生活隱退了,所以我們又重溫友誼。


 改變自己的想法

本書一開始,我就已經談到作家貝克在裝潢公寓時改變想法的過程。他原先認定自己想要用挖土機來當家具,讓家裡充滿異國情調,但有一天,他卻突然發現自己已 經摒棄了這樣的想法,更奇怪的是,他根本指不出自己究竟是什麼時候改變想法的,那是個漸進的過程,可能是發生在一段時間之內,因為他的知覺和心理表徵經歷 了不少小改變而造成的。

其實截至目前為止,本書所探討的種種改變想法的過程,由國家領袖對全國國民演說,到心理治療師向脆弱的病人解析夢境,恐怕唯有發生在我們自己腦海裡的改 變,才是最耐人尋味的。我們的想法之所以會改變,一方面可能是因為我們自己想要改變它們,一方面則可能是因為我們的心靈生活發生了某個事件,造成這樣的改 變。貝克也提醒我們,這樣的改變可以發生在任何領域──由政治的信念、科學的理念、個人的信條、到我們對自己的看法。有時候這種想法的改變自然而然的發 生,但有時候,它對我們的生活劇烈而尖銳的改變。

在人改變自己的想法時,改變想法的七大因素都會造成影響,但為求簡單扼要,因此我們先舉一個因時事因素而造成想法戲劇性改變的例子,了解一位55歲的國家領袖在九一一事件之後,想法有了多大的改變。

小布希總統:發生在華府的想法改變
小布希年輕時是個玩世不恭的花花公子,然而1990年代,他卻迅速由商壇和政壇竄起,很快地也有了選總統的雄心。1992年,老布希競選總統連任,敗在柯 林頓手下,小布希就暗自下定決心,絕不重蹈老爸的覆轍。後來經過一番激烈的角逐,小布希在總統大選中驚險勝出,此事對美國社會的影響至今還餘波蕩漾。總 之,小布希在2001年1月就任美國總統一職。

就連小布希最親密的戰友,都會承認小布希對他任內要做的種種決策──尤其是國際事務的決策,並無多少準備。由媒體對小布希的各種訪問和記者會就可看出,小 布希對許多問題都所知不多。紐約共和黨議員金恩(Peter King)提及他在2001年6月和小布希的一次會談時說:「他只不過照本宣科一一宣讀動議了事。」佛羅里達州的參議員葛拉罕(Bob Graham)也附和說:「他並沒有特別花什麼心思。他的重點似乎是放在他認為重要的事項上,對於其他問題,他根本漠不關心,有些人甚至覺得他根本就欠缺 好奇心。」內布拉斯加州共和黨參議員奈格爾(Chuck Nagel)則說:「小布希大概是歷屆美國總統中,對外交事務最無經驗的一位,馬上就讓自己走入死胡同。」

布希的內政目標乏善可陳,他主要的政見不外乎減稅和撙節政府支出。他在德州最為人稱道的治績是讓許多弱勢兒童獲得了受教育的機會,也希望把這樣的政績推廣 到全國。在外交方面,他請來了父親當年任總統時所聘的顧問,他們批評柯林頓的外交政策不連貫,並且採取低調的作法:強大的軍力、避免與非關美國安全的國家 發生糾葛,並採取現實政治(Realpolitik,不是從道德或世界考慮出發,而是以實用為考慮重心)的觀點,不顧人權,而與中國大陸、俄羅斯、日本和 歐洲等與美國自身經濟有利的國家維持良好關係。小布希的外交政策是單向的,他對與外國合作沒有太大的興趣,對「京都協議」中使用能源的協議更是嗤之以鼻, 同時廢除了早年與蘇聯簽訂的「反彈道飛彈條約」。2001年春、夏季,不論是支持或反對小布希的分析師,大都會同意我如上的這些描述,頂多只是大家描寫時 的程度不同而已。

然而在2001年9月11日,蓋達組織的恐怖分子發動攻擊,以巨無霸客機撞擊曼哈頓鬧區世貿中心雙塔和華府五角大廈之後,一切全都改觀了。原本我們認為年 輕人比較容易改變想法,而年長的人行事思想則早已固定。不過在2001年9月,小布希已經55歲,由許多標準(只是我已經不用這樣的標準!)來看,都算年 長而非年輕了,他的成熟度比起20、30歲時,已經有相當的成長,但對於國際事務的細節和趨勢,卻似乎無意再做更進一步的了解,同時,對於重大的政策議 題,他也並沒有改變想法的跡象──大家都覺得他大概只會聽從核心幕僚的意見,真有問題,頂多去請教他那博學多聞而行事穩健的父親。

然而在九一一之後的數月之中,小布希卻有了明顯的轉變。九一一當天,小布希趕回白宮,心中湧起了真切的新使命:他是美國總統,要盡一切可能消滅恐怖分子的 網絡,避免讓這樣的情形再度發生。當天稍晚他向幕僚表示:「我們已經宣戰了,夥計們,我們領薪水就是為了這個工作。」他專心一志,下定決心,對外交政策掌 握了更多的資訊,接下來他和原本連名字都不熟的各國領袖建立了私人情誼,讓原本批評他的人對他改變了看法。葛拉罕參議員說:「我對他所掌握的細節大感驚 訝。」金恩議員則說:「只要他明白自己所說的內容、願意花時間、展現他的關切,也願意為它而戰,那麼我就比較容易站在他那一邊。」奈格爾參議員則說布希: 「開始找到方向。」小布希由片面主義者(unilateralist,指在外交或國際事務方面不顧他國觀點)搖身一變,成為主張多面協商者 (multilateralist),由孤立主義者,成為國際主義者。這位原本不願沾惹其他國家是非的領袖,如今卻願意參與阿富汗、伊朗、巴基斯坦、中東 事務,在巴爾幹半島駐軍,甚至發動對伊拉克的全面戰爭。對於他原有定見的其他事務,布希也改變了想法:比如企業必須重整,和是否該針對國土安全的問題,設 立內閣階級的職務等。

小布希花了不少精力,重建10年前他父親當家時,在波灣戰爭所建立的國際合作,成功以武力拔除了阿富汗的塔利班政權,以金融、軍事等各種手段,追捕蓋達組 織,並且領導國際間對伊拉克發動的戰爭(雖然最後幾個大國和舉世大部分人民都反對他的作法)。在戰後歲月,他也和聯合國合作。不再奉行片面主義的小布希盡 力和各國領袖維持關係,打擊恐怖主義,隔離他所謂的「邪惡軸心」(即伊朗、伊拉克、敘利亞和北韓),他覺得後者非但在密謀發動生化或核武戰爭,而且支持甚 至庇護、隱匿恐怖分子。由所有的媒體報導來看,小布希如今獲得了新的使命感,對事物有了先前他未曾展現的了解,他不僅規畫贏得選戰,而且還運用治理國家的 機會,達到特定的政策目標。有觀察家指出:「柯林頓總統上任之後,把焦點放在內政。小布希上任時,則表示他會減少參與外交,而以更謙和的態度和各國建立外 交關係,然而當年美國的外交卻產生了最驚人的後果:我們派軍隊和其他武力到新國家,接受新盟友,在新地點設立軍事基地,參與了新爭端。」另一位評者則說: 「原本大家擔心小布希對外交採隔離的態度,但現在他的作法卻很明確:要重組世界秩序,其雄心壯志、範圍,和意識形態,都和杜魯門(Harry Truman)及威爾遜(Woodrow Wilson,美國第28任總統)總統在位時不相上下。」

有的人改變想法,是因為他們想要如此,有的人則是因為他們必須如此。小布希總統改變想法並不是出於他自己的意願(我在此並無不敬之意),以莎士比亞的話來 詮釋,可以說:「小布希並非天生就是會改變想法的人,他是不得不如此。」大家沒料到的是,小布希能夠挑起這樣的重任。

當然,我們不知道小布希改變想法的心路歷程。他並非擅長內省的人,而且絕不可能把他省思的內容告訴媒體,遑論非親非故的心理學者如我了。但我很確定:小布 希不但和許多人談話,而且更在心裡和他自己談話。身為全球最強大國家美國總統的他,站在和世上任何人都不同的位置上,他盡可以隨心所欲請教任何人,但最 後,尤其是在大家各持己見時,他還是必須問問自己的想法。

有時在別人眼中,某人已經改變了想法,但他自己卻覺得「一路走來,始終如一」,自己的態度是一貫的,這種對一貫性的信念,以及相信自己維持一貫態度的想 法,是保持意見堅定不變的主要動力──尤其當此人是公眾人物時更是如此。美國政壇人士不喜歡公開表示自己改變想法,以免被人視為軟弱或前後搖擺。布魯克斯 (David Brooks,美國《紐約時報》資深記者)說:「小布希會不擇手段求取勝利,而他的高階幕僚則能坦誠面對他們的錯誤,但你就是不可能讓他們公開承認自己犯 了錯。」不過我認為,小布希至少改變了他對總統之職目的的想法,我揣測他也改變了他對下面這些問題的看法:對自己人生的使命、對美國和其他國家的關係、參 與全球問題的必要(包括他所知甚少、成功機會甚低的問題)、和國內外人民溝通,宣揚美國使命的重要、恐怖主義的危險、兩黨在關鍵議題上必須達成的共識,以 及由新國土安全至舊情報和移民機構等各方面議題,所持立場都一致而井井有條的政府機構。正如《商業周刊》中所報導的:「過去12個月來,以國內生產毛額的 比例而言,美國政府在國防上的預算是自1982年以來漲幅最高的一年,也是自1970年代末期以來法規更多、立法監控最多、政府干預也最多的時期。」若非 小布希在關鍵議題上改變了想法,根本很難想像會發生這種趨勢。

不論小布希的才能如何,他自小就表現出我所謂「人際智能」的能力──能夠了解並激勵他人。他喜歡和人相處,也以能了解他人自豪。在學校裡,他或許是學業表 現平平的學生,但卻擅長交朋友(老實說,我猜想年輕的小布希在閱讀和其他語言功課方面的學習障礙,使愛交際的他更加強了自己的人際技巧。他在大學、商學 院、年少輕狂的歲月,和後來從商的過程中,繼續磨練這方面的技巧。甚至連覺得小布希才智平庸的人,都依舊喜歡他,對於他和與人共處、交朋友的能力,表示佩 服。他就像其他人際技巧高明的人(大部分歷屆美國總統都包括在內)一樣,對自己和外國元首相處以及說服他們合作的能力頗有信心,他曾說:「許多領袖來此, 就是要坐下來談,我覺得和他們真心相處很重要,這許多領袖天生都有和我一樣的能力,因此他們能夠看穿人心。」

小布希的人際智能多年來在許多環境背景中,讓他無往不利,但我認為,在九一一事件之後,他的「內心智能」也有了進步,對於面對政軍未知情勢的他而言,這種 轉變是必要的。內心智能難以理解,更無法形容,不過其核心包括了這些元素:對自己的了解──你是誰,你的優缺點是什麼,你的目標是什麼,如何達到這些目 標,如何運用自己的成功,如何從自己對事件的反應(不論其結果為何)中學習,簡言之,就是對個人身而為人──不論是單獨或與人相處,都有正確的心理表徵, 能夠正確評估這些心理表徵,甚至促成這些表徵的改變。雖然我是由外在觀察,而且對於小布希的諸多政策並不以為然,但我還是要說,他在任職總統期間,內心智 能有相當驚人的成長。

在上一章,我們的重點是因親近的人──同事、朋友、父母、同伴、治療師、情人,而造成個人想法的改變。我們可以改變周遭人們的想法,他們也可以改變我們的 想法,不過無論如何,我們最後還是得為改變自己的想法負責。在這種想法劇烈改變的時刻,了解自己究竟是怎麼思考的能力,就舉足輕重。

天生並不擅長內省的小布希,後來卻能以他自己和任何人都沒有料想到的方式,在2001年九一一事件之後,了解自己內心的想法,也了解自己改變自己想法的能 力。他改變了自己想法的內容(即他對整個世界體系的信念),也改變了想法的形式(他接收資訊、融合為一,然後做出決定的方式)。小布希的例子顯示了:一個 重要事件會如何成為改變想法的關鍵點。我相信在他總統任期內其他的事件,也會影響到他想法的架構和形式。

在一般人最重視最在意的領域中(如政治、學術,和宗教等價值觀點強烈的領域),想法的改變可能最戲劇化。探索這些「價值觀強烈」的領域中,究竟哪些人會改 變想法,哪些卻維持一貫的信念,能讓我們更進一步了解改變個別心靈的方式。現在我們先以一改變想法的政壇人物為例。在此例中,有3個因素(邏輯思維、共鳴 回響和新聞時事)對於此例主角改變心意,有舉足輕重之效。

意識形態的改變:錢伯斯的例子
自馬克斯寫到資本主義的失敗,和廢除私人財產及國家干預的烏托邦之後,許多人──尤其是年 輕人,對社會主義和共產主義興起了憧憬。其中最著迷的,莫過於錢伯斯(Whittaker Chambers)了。錢伯斯於1901年生於長島,在破碎家庭中長大。1920年代初,他在哥倫比亞大學就讀及其後赴歐旅行時,就深受共產主義的願景吸 引。當時共產主義在俄羅斯頭一次革命成功,建立了列寧的布爾什維克國家。在錢伯斯赴歐期間,他摯愛的兄弟自殺了,這對他不啻火上加油。錢伯斯說:「當時我 覺得任何造成我兄弟之死的社會,都是不義的,我要向它宣戰。這就是我盲從的開端。」錢伯斯特別致力於協助弱勢的民眾、減輕經濟危機、避免戰爭。

錢伯斯是文筆很好的記者,他從此為左翼報紙寫稿,最後自己也加入共產黨,起先並不活躍,但後來卻逐漸參與地下間諜活動。在這幾年期間,他都以共產黨的角度 公開發表文章,同時私下打探美國的秘密政治計畫,告知美俄兩地的共黨領袖。在此時,「共黨理想」也經數次轉型。在列寧早死之後,史達林掌權,一心以建立舉 世頭一個共黨國家為念,他實施了徹底拔除資本主義的經濟計畫,建立在農、工、軍等方面足堪表率的社會。他推動集體農場,把產業收歸國營,掌控如莫斯科地鐵 等的重要公共設施。他鼓勵或容忍如作家高爾基(Maxim Gorky)和作曲家蕭士塔高維契(Dmitri Shostakovich)等前衛藝術家。然而這些令人欽佩的創舉並沒有維持多久,性格極端偏執的史達林決心要一一清除所有可能的對手,在1930年代後 期發動一連串公審(show trial),徹底消滅他們。而在1939年8月,就在二次大戰爆發前夕,史達林與希特勒締結互不侵犯條約,將東歐畫分為德國和蘇聯的勢力範圍。

錢伯斯對蘇聯如此不公不義的行為終於忍無可忍(如今回顧起來,史達林的共黨政權是史上最血腥的政權之一,保守估計在史達林時代,至少屠殺了數百萬俄國民 眾)。1937年,錢伯斯冒著自己和家人安全的危險,退出共黨。接下來10年,他加入《時代》雜誌,成為該刊物最受尊重推崇的作家和主筆──對二次大戰時 共產黨的角色及後續餘波,有獨到的見解。

如果錢伯斯的一生僅此於此,那麼世人對他恐怕不會有太多印象。但1952年,錢伯斯發表了《見證人》(Witness)一書,筆觸敏銳辛辣,描述了他的想法在1920至1950年之間轉變的過程,一時洛陽紙貴,也讓錢伯斯名留青史。

錢伯斯在書中記載了他想法接連發生的四種狀態:(一)他如何受到共產主義的吸引,並在1920年代中期加入共黨;(二)1930年代末,痛心疾首的他如何 退出共黨;(三)他最初對於把自己與其他人從事間諜活動的內容,透露給檢調單位的掙扎;(四)他最後決定把美國共黨的一切公之於世,一方面讓家人名揚於 世,另一方面卻也讓他們蒙羞。

錢伯斯認為,二十世紀上半期的世界,見證了對人性兩種詮釋的生死掙扎。起先錢伯斯認定資本主義是邪惡的,因此追求共產主義,認為這是世界唯一的出路。因為 他採取這樣的看法,因此也避開了對共產主義的嚴厲批評,可以說他採取的是基本教義派的死忠觀點。然而接下來共黨罄竹難書的劣跡──既有個人的,也有公眾 的,既有國際的,也有國內的,層出不窮,錢伯斯看到許多人在國外遇害,有些人在國內被追捕或被殺。他讀到在海外有控制心思的情事,後來也在他的共黨牢房親 身經歷。性喜思考的錢伯斯最後終於決定,再也不能容忍自己死忠共產黨徒的身分。他心懷恐懼、渾身顫抖,展讀批評共黨的文章,並且把自己的疑惑告知好友。在 他的想法累積達到關鍵點之後,他做出了重大決定。他說:「1937年,我就像拉撒路(Lazarus,死後4天復活,見《新約‧約翰福音》)一樣死而復 生,脫離了共產主義,由6年來深埋的地下,重回自由人間。」

錢伯斯逐漸了解,他開頭把世界一分為二,認為只有好壞之分的想法並沒有錯,只是他把民主資本主義和共產主義的價值搞錯了。真正的對抗是在於信奉神、相信崇 高的價值、人類之愛和奉獻的人,以及只信仰人和只考慮權力的人之間。起先錢伯斯覺得他應該把自己之所知告訴美國安全體系,提出警告,但沒人理會他,於是他 覺得自己已經盡到了義務,可以結束人生的這一章節。他繼續擔任酬勞豐富的記者,也為人夫、為人父,建立家庭。

錢伯斯在1948年8月一舉成名,他揭露國務院官員希斯(Alger Hiss)和他同時成為共產黨員,接著又透露希斯參與間諜工作(許多人都不認同錢伯斯此舉,有些人迄今還相信希斯是無辜的,不過由法律和歷史的紀錄,可以 證實錢伯斯對希斯的指控為真)。在錢伯斯心中,揭發希斯無疑是義舉,雖然他心頭不安(此乃我們所謂的「阻力」),擔心社會大眾會認為他在搬弄是非、甚至把 他當成叛徒,讓他的妻兒永遠蒙受陰影,害他放棄了身為全國知名雜誌資深作者的諸多資源,更何況他認為最後會戰勝一切的是共產主義而非民主政體。但最後他還 是覺得應該犧牲小我,完成大我。他說:「我知道我已經由勝方轉向敗方,但我寧可失敗而死,也絕不要在共產主義下存活……我非常不情願地一步一步毀滅自己, 只希望這個國家和它所依存的信念,能夠持續下去。」

我們可以由許多方面批評錢伯斯,但絕不能說他欠缺勇氣。在近代美國史中,他不論在個人或公眾議題上,想法都有極大的改變,而且他也盡力把他的心路歷程一五 一十地公之於世。其中有些事實專屬這位來自困惑的年輕人所有,但他故事的大要,卻和其他省思共產主義失敗的人相仿。

匈牙利裔英籍作家庫斯特勒(Arthur Koestler)、法國作家馬爾羅、義大利作家斯隆(Ignazio Silone)、作家萊特(Richard Wright)等知識分子,都為文描述過他們當初受共產主義吸引,以及後來逐漸覺醒的過程。這些作家在描寫這段通常是痛苦的過程時,說明了深思熟慮(且常 常固執己見)的人,如何接納某個觀點,公開支持它、為它申辯,接著不情不願地發現他錯了,再公開宣告自己先前的觀點錯誤。非知識分子可能難以理解,為什麼 知識分子這麼在乎自己應該是對的,知識分子很在意自己清楚明白地為自己的立場辯護,要保持一貫,因為思想是知識分子的核心。知識分子對於認知差異之間的對 抗特別敏感,如果有違反他們理論的想法,他們一定要重新闡釋它,以消除其間的不一致和不連貫。

讓我們舉個例子。史達林和希特勒簽下互不侵犯條約時,知識分子為他提出了種種辯解:有人說他這樣做是為了爭取時間,有人說是為了要對希特勒有更多的影響 力,也有人說,史達林非簽這個條約不可,因為他自己國內的反革命力量已經失控。知識分子振筆疾書,洋洋灑灑長篇大論,否認許多「一般老百姓」看來再明顯不 過的事實:史達林這樣做,根本只是以權力為考量,他是個殺人不眨眼的暴君(在這方面和希特勒及成吉思汗沒什麼兩樣),他號稱的社會理想根本是場騙局。像我 這樣的觀察者事後回顧起來,最教人震驚的是:究竟需要多少的「反證據」,才能讓這些人相信共黨的說法或理論根本就是錯的,他們是多麼遲疑,不敢公開承認自 己支持的竟是基礎上就有大錯的理想。我們幾乎看不到他們直接承認錯誤的聲明,很少有如美國共產黨員史凱爾斯(Junius Scales)如此坦白的告白:「史達林──我奉之為共產主義屹立不搖的偶像,是俄國社會主義的創造者,是史達林格勒(今伏爾加格勒)的磐石。這位睿智而 仁慈、充滿幽默感的人,三年前他去世時,曾讓我痛哭失聲──史達林其實是個凶狠殘暴、一心只想掌權的怪物!」

坦白說,共產黨不容人懷疑,義大利小說家斯隆回憶自己脫離共產黨的痛苦過程:
其實脫離共黨和脫離自由黨完全 不同,主要是因為你和黨的關係和他們要求你做的犧牲成正比……這是個發揮得淋漓盡致的極權主義機構,要求追隨者絕對的忠誠……誠心的共產黨員因為某種奇 蹟,保持了天生的才智,受盡自己內心的折磨,最後才採取關鍵的一步,不是完全服膺黨的領導,就是完全脫離黨的掌控,重獲自由,就像克服了官能症一樣,擺脫 共黨的勢力而痊癒。

近來許多評者提出另一種解釋,說明知識分子對共產主義如醉如癡的原因。這種持諷刺立場的觀點認為,知識分子熱愛權力,他們高估自己看清推動社會運作「真正 力量」的能力,當權者注意到他們時,他們又太卑躬屈膝。有些人對恐怖行動和暴力懷抱憧憬,忽略到這種作法可能造成的可怕後果。現代德國作曲家史托克豪森 (Karlheinz Stockhausen)就是這種想法的代表,他無視於世貿大樓爆炸對世人造成的悲慘打擊,反而說這次的攻擊是「世界史上最偉大的藝術作品」。史托克豪森 漠視了暴行的本質和後果,只把它視為想像的作品。

對於改變想法前倨後恭的態度,有個老笑話描述得很傳神:一開始抱著舊想法的人,會批評新想法荒謬無稽;過了一陣子,他就把新想法當成傳統智慧;再過一陣 子,他就認為這個新觀念自始至終都是他的點子。不過知識分子對於共產主義改變想法的過程,卻從沒有那麼流暢順利,他們並不認為自己愚蠢、天真,或投機取 巧,而常把問題怪在其他地方,認為自己改變想法的轉折並沒有像外人想的那麼劇烈。他們盡量為自己改變想法辯解,認為他們之所以會改變想法,是因為他們得要 維護更基本的一貫理念。比如,他們會說自己對資本主義的批評一向都是正確的,史達林原本是個好人,但卻受了法西斯主義的蠱惑,下一位共產主義的領導人就可 由史達林的例子中學到教訓,不會重蹈覆轍。當然,由古巴到北韓到東歐,一個又一個的共產政權相繼失敗,使得這種解釋站不住腳,但至少歐洲有些馬克斯主義者 依舊抱持這樣的論點。

知識分子的這種傾向,使得錢伯斯公開揚棄共產主義的告白更加難能可貴。若以本書所列改變想法的七大因素來評估,他立場的劇變可說是為他在面對時事(史達林 時期的蘇聯)時,運用邏輯思維的能力,以及這些時事無法和錢伯斯一貫抱持的信念起共鳴之故。其他的有識之士則很可能是因為蒐集了許多資料、獲得更多資源的 機會,或者在許多不同的具象重述中(由小說到個人所受的折磨)看到了相反的證據,也使得他們唾棄共產主義。

在政治的領域,想法的改變往往是逐漸變化,而非石破天驚劃時代的劇變,比如原本對共產主義抱持同情心態的人,逐漸不再那麼支持擁護它;原本對新國家的民主 政體很有信心的人,逐漸改變了他們的信念;原本對市場力量心存懷疑的人,逐漸抱持肯定的看法(反之亦然)。邱吉爾曾有一段名言:「年輕時不信社會主義的人 是笨蛋,中年時卻還相信社會主義的人則是蠢驢。」由於這種想法的改變既是漸進的,比較不會引起抱持想法的本人及周遭親朋好友的注意,因此往往不必直接面對 想法改變的衝突。

在政壇上,由保守的想法轉為自由的態度比較容易招致非議,而且有時大家根本不願相信。原本右翼立場堅定的美國記者布洛克(David Brock)2002年坦承,他曾在報導時扭曲事實〔比如對於左派偶像法學教授希爾(Anita Hill)和柯林頓的報導〕,宣告他如今擁護自由派的理想,而且要彌補過去所造成的錯誤。他的告白雖然引起大家的注意,但不論是他從前右翼的朋友,或現今 左派的支持者,都沒有多少人同情。不論如何,凡是人,不論是任何領域,都不喜歡承認錯誤,其中又以政界為然。前紐約市長拉瓜迪亞(Fiorella Henry La Guardia)曾說:「我犯錯的時候,也是經典之錯!」不過像他那樣坦承錯誤的政界人士實在不多。

同樣也是前紐約市長的朱利安尼(Rudolph Giuliani)彷彿是呼應他的老前輩似的,把政界人物想法的改變分為兩類,他說:「有些人覺得改變想法這種觀念是無聊的,其實不然。你經由嘗試錯誤, 了解到你抱持的想法是錯的……隨著你的知識增長而改變想法是一回事,因為政治原因必須聽命行事,或是因輿論反應不得不然,則是另一個比較常見的理由。」

......

再以我為例,我喜歡採取各種不同的立場看問題,如果可能,也盡力協調或綜合這些立場。我的個性比較喜歡協調,而不喜歡對立,我研究學問時偏好綜合,而非分 析。我喜歡以各種不同的角度來探討同一個問題,甚至透過不同的學科領域來探究。我很難想像自己在政治、宗教、學術或其他任何領域、任何事物的「死硬派」, 執著於一個不變的觀點,也很難想像自己數十年如一日地分析某一特定的課題或觀念。我比較可能退讓一步,把問題放在更寬廣總其成的背景環境下考量,或者我會 乾脆換個問題思索。我對一個問題正反兩面的阻力都很敏感,但我也並不會在提出了象徵論或分類學之後就撒手不管。我也有一種統一或組合的本能,促使我把所有 的元素全都整合為一個整體。在荷頓的設計中,我是期待最後能做中間人的分析者,如果採取七世紀希臘詩人阿爾基洛科斯(Archilochus)的說法,則 我是想做豪豬的狐狸。如果依照本書的說法,則分析與整合的立場最能引起我的共鳴。

對於舉足輕重的事物,要改變想法絕非易事,而要公開宣布自己改變想法,更是難上加難。這種情況往往發生在很清楚明白而且可以分類的事物上,比如:「我本來 是民主黨員,但由現在起我要改支持共和黨。」或「我終於相信行為主義永遠不能解釋人類究竟如何學得語言,因此我決定投入喬姆斯基陣營。」我們很難辨識出自 己不知不覺奉為圭臬的「主題」,因此更難改變對經驗本質的想法。依我的分析,最能引起我們心靈共鳴的想法,就是我們最重視也最不可能放棄的信念。

其實,唯有認定自己善變,或認為自己「有彈性」的人,才會覺得改變想法不難,非但樂於改變,也願承認改變。但一般人對於這些人改變的想法,往往不會太重 視,因為這些人的改變,透露的是他們的性情,而非他們的想法。如錢伯斯、維特根斯坦,或萊維─布呂爾等人之所以與眾不同,是因為他們原本對某個觀點非常認 真、執著、熱情,但後來卻接納了另一個和原觀點截然不同的立場。當改變想法舉足輕重時,當阻力消融、新的共鳴取而代之時,我們就會注意它、記得它。



Changing Minds: The Art and Science of ...

Minds are exceedingly hard to change. Ask any advertiser who has tried to convince consumers to switch brands, any CEO who has tried to change a company's culture, or any individual who has tried to heal a rift with a friend. So many aspects of life are oriented toward changing minds--yet this phenomenon is among the least understood of familiar human experiences. Now, eminent Harvard psychologist Howard Gardner, whose work has revolutionized our beliefs about intelligence, creativity, and leadership, offers an original framework for understanding exactly what happens during the course of changing a mind--and how to influence that process. Drawing on decades of cognitive research and compelling case studies--from famous business and political leaders to renowned intellectuals and artists to ordinary individuals--Gardner identifies seven powerful factors that impel or thwart significant shifts from one way of thinking to a dramatically new one. Whether we are attempting to change the mind of a nation or a corporation, our spouse's mind or our own, this book provides insights that can broaden our horizons and improve our lives. Howard Gardner is the John H. and Elisabeth A. Hobbs Professor of Cognition and Education at the Harvard Graduate School of Education and senior director of Harvard Project Zero. The recipient of a MacArthur Prize Fellowship and 20 honorary degrees, he is the author of more than 20 books.
by Howard Gardner - 2006 - 276 pages
Changing minds: the art and science of changing our own and other people's minds By Howard Gardner
Changing Minds──改變想法的藝術. 作者:霍華德.嘉納 譯者:莊安祺 出版社:聯經
出版公司. 怎樣會讓你改變想法? 想想你曾經怎麼鼓起如簧之舌,想改變別人對於某個 ...



前英國首相柴契爾夫人在英國最低潮的時候,以堅定的承諾、聰慧的眼光和威權的領導,讓英國重新站起來;在這個過程中,她所過的生活、所用的語言、所說的故事內容和表現的勇氣,成功地改變英國人的觀感和想法,可惜,她的雄辯和驕傲也讓她黯然下野。 南 非總統曼德拉是另一個改變民眾想法的典型。霍華德觀察曼德拉因政治被判27年徒刑,但他並未報復對手和讓他入獄的人,反而尋求和解,在就職總統那天,他邀 曾任他獄卒的警衛坐在第一排觀禮;「他改變的不只是數百萬同胞的想法,也影響了全球」,霍華德認為,曼德拉以身作則打動人心,是改變想法的重要關鍵。

西蒙波娃 Old age / The Coming of Age By Simone de Beauvoir

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「我渴望能見你一面,但請你記得,我不會開口要求要見你。這不是因為驕傲,你知道我在你面前毫無驕傲可言,而是因為,唯有你也想見我的時候,我們見面才有意義。」──西蒙波娃,越洋情書
“Old age represents a change in one's existence, a change that is manifested by the loss of a great number of things. If one isn't sorry to lose them it's because one didn't love them. I think that people who glorify old age or death too readily are people who really don't love life.” —Simone de Beauvoir, born on this day in 1908
Read her Art of Fiction interview: http://bit.ly/1a1QYp5
  • The Coming of Age (1970)


Old age

Front Cover
Penguin BooksJan 27, 1977 - Social Science - 654 pages










The Coming of Age

Simone de Beauvoir
Norton, 1996 - Family & Relationships - 585 pages
6 Reviews


What do the words elderly, old, and aged really mean? How are they used by society, and how in turn do they define the generation that we are taught to respect and love but instead castigate and avoid? Most importantly, how is our treatment of this generation a reflection of our society's values and priorities?

In The Coming of Age, Simone de Beauvoir seeks greater understanding of our perception of elders. With bravery, tenacity, and forceful honesty, she guides us on a study spanning a thousand years and a variety of different nations and cultures to provide a clear and alarming picture of "Society's secret shame"--the separation and distance from our communities that the old must suffer and endure.


About the author (1996)

Simone de Beauvoir, 1908 - 1986 Simone de Beauvoir was born January 9, 1908 in Paris, France to a respected bourgeois family. Her father was a lawyer, her mother a housewife, and together they raised two daughters to be intelligent, inquisitive individuals. de Beauvoir attended the elementary school Cours Desir in 1913, then L'Institute Sainte Nary under the tutelage of Robert Garric, followed by the Institute Catholique in Paris, before finally attending the Sorbonne, where she graduated from in 1929. It was there that she met the man who would become her life long friend and companion, John Paul Sartre, who contributed to her philosophy of life. She is perhaps best know for her novel entitled "The Second Sex", which describes the ideal that women are an indescribable "other", something "made, not born", and a declaration of feminine independence. After graduating from the Sorbonne, de Beauvoir went on to teach Latin at Lycee Victor Duruy, philosophy at a school in Marseilles, and a few other teaching positions before coming to teach at the Sorbonne. During the course of her twelve years of teaching, from 1931 to 1943, de Beauvoir developed the basis for her philosophical thought. She used her formal philosophy background to also comment on feminism and existentialism. Her personal philosophy was that freedom of choice is man's utmost gift of value. Acts of goodness make one more free, acts of evil decrease that selfsame freedom. In 1945, de Beauvoir and Sartre founded and edited Le Temps Modernes, a monthly review of philosophical thought and trends. In 1943, with the money she had earned from teaching, de Beauvoir turned her full attention to writing, producing first "L'Envitee", then "Pyrrhus et Cineas" in 1944. In 1948, she wrote perhaps her most famous philosophical work, "The Ethics of Ambiguity". "The Second Sex", regarded by many as the seminal work in the field of feminism, is her most famous work. Other works include "The Coming of Age", which addresses society's condemnation of old age, the award winning novel "The Mandarins", "A Very Easy Death", about the death of her mother and a four part biography. In "The Woman Destroyed", a collection of two long stories and one short novel, de Beauvoir discusses middle age. One of her last novels was in the form of a diary recording; it told of the slow death of her life-long compatriot, Jean Paul Sartre. On April 14, 1986, Simone de Beauvoir, one of the mothers of feminism, passed away in her home in Paris.
Patrick O'Brian is the author of twenty volumes in the highly respected Aubrey/Maturin series of novels.

Bibliographic information




書名是雙關語。平常指"成年" (The age or occasion when one formally becomes an adult)






沈政男


很久不買書了,大二以前買的書都還沒讀完,

網路上免費的書也很多,

尤其是經典,都已是人類共同遺產,


我的讀書方法是只讀經典與教科書,別的科系的教科書,

至於新書,大都只是翻一翻,

生也有涯,眼力也有限,

讀書一定要慎選,就如同聽歌、吃東西、旅遊,還有看女生一樣,

但最近為了老年書寫,我特地上網到Barnes & Noble買書,

西蒙波娃的<年老到來>(The Coming of Age),

老年學經典,五百多頁的英文翻譯版本,

哲學女強人的鉅著,不是<第二性>,

是<年老到來>,不要以為西蒙波娃只是女性主義者,

她先是哲學家,才是女性主義者,當然也是老年學家,

看了一些章節,真是驚為天人,

那麼論理清晰,又敘述生動流暢的文筆,即使透過翻譯都還觸摸得到,

從各層面談老年與老化,從遠古社會講到現代,遍及神話、歷史、哲學與政經社分析,

非常獨到的選材能力,可以在三十多年前就把老年當成一個獨立完整的思辨主題,

而且整合、演繹與分析都非常優異,字裡行間處處閃耀哲思與洞見,

看穿一般人習以為常的表面現象,視野非常廣闊深邃,

這書那麼好,國內卻找不到,連Amazon都沒有庫存,

還好Barnes & Noble有,訂購與交貨流程都讓人滿意,21天後收到,

讀了那麼多老年書,只有這一本真正讓人折服,

我將吸收書中菁華,化為我的老年書寫養分,

從文史哲政經社,當然還有自然科學的總體角度出發,

寫一本老年專書。

吳梅村

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吳偉業(1609年-1671年),駿公梅村祖籍南直隸蘇州府崑山縣(今江蘇省蘇州市崑山市),祖父始遷居太倉州(今江蘇省蘇州市太倉市),初著名詩人、政治人物,長於七言歌行,初學「長慶體」,後自成新吟,後人稱之為「梅村體」。


童元方的博士論文:<兩組北行的詩──文天祥與吳梅村>,......

孫康宜主編的:〈劍橋中國文學史的吳梅村部分。
孫康宜:〈吳梅村的藝術超越觀〉。(五臺(山),不是五台。)

甲申詩史:吳梅村書寫的一六四四

作者: 陳岸峰

陳岸峰教授藉吳梅村之生平言行,對天崩地裂之經過、對朝廷內外君臣之言行與是非因果,有仔細之論證與描繪。歷史可以訓示後世,人物可以範式中外,吳梅村、錢謙益之師友朋輩,與及瓜藤藕絲之人群,無論賢愚主丑,於時之種種心術動靜,皆能體現國家浮動、社會危困之際,世人如何湧現良心與自性。陳教授著作的特色,一向能夠以翔實材料為基礎,以通達語文為工具,以嚴肅態度為力量,深入淺出,化出感人肺腑之成果。我一向讚賞他的作品,認為是學術與文藝結合之榜樣,可供大專專家、中學師生,以至業餘人士細心閱覽、精究或參考。
——王晉光[香港藝術發展局評審委員/香港中文大學榮休教授]


「甲申之變」的歷史悲劇,崇禎殉國,國家淪喪,天崩地裂,遍地烽煙,震撼了充滿歷史意識的詩人吳梅村(吳偉業,駿公,1609-1671),在忍辱含垢之餘,他惟有賦詩書寫社稷傾覆之始末,以盡史官與詩人之責任。其作品,誠如沈德潛(確士,1673-1769)所言:「故國之思,時時流露。」在吳梅村全方位的詩史書寫之下,「甲申之變」翻天覆地的動盪變革,猶如悲壯的畫卷,慢慢展開,悲恨相續,可歌可泣。
——陳岸峰

童元方:陳之藩散文的語言

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童元方:陳之藩散文的語言
http://hk.apple.nextmedia.com/supplement/apple/art/20120408/16228436
http://hk.apple.nextmedia.com/supplement/apple/art/20120415/16248166

不滅記憶。陳之藩



陳之藩曾說科學與詩很相近,科學界的研究科學,與詩人踏雪尋梅的覓句差不太多。研究科學即是全世界的人共同唱和一首詩,最好的出來了,大家就另找一個題目。在陳之藩的腦海裏,科學與詩,並沒有甚麼分別,均在覓句。用陳氏自己的話說:「科學原來像詩句一樣,字早已有之,而觀念是詩人的匠心所促成的。」這裏面只是對真的好奇與對美的欣賞。
陳之藩的散文,尤其是後期出版的四本:《一星如月》、《時空之海》、《散步》、《思與花開》亦當作如是觀。我們從他的文章裏知道他愛詩,卻遺憾自己不會作詩。他表達自己的工具有二,一是數學,一是散文。他所寫超過一百篇的科學論文,我絕大多數不可能理解,但時常看見他對着方程式寫成的文章讚歎:「這結果真是太美了。」我頓有所悟。不論他是寫科學論文,還是一般的散文,其實都是在作詩。人皆以為陳氏以科學家的身份寫散文是一令人驚訝的事,好像科學與人文互不相干。實則他是以兩種工具在覓句。

科學論文屬專業範疇,本可以不論,但陳先生有一篇論文居然是從一封私信的內容激發出來的。
現世所存米列娃給愛因斯坦最早的一封信,是一八九七年她在海德堡大學當旁聽生時寄到蘇黎世的。米列娃在信中告訴愛因斯坦奈卡谷的景色迷人,但那幾天總是裹在濃霧中。她甚麼都看不見,除了霧,還是霧。對這鋪天蓋地的霧,米列娃的形容是:「荒涼到無限;灰暗到無窮」。但從只有霧的世界聯想到「無限無窮」的觀念,是洋溢着青春活力的米列娃所迸發出來的逼人聰慧。她說:
我認為人之無能了解無限無窮這一觀念,不能歸咎於人類頭顱結構之過於簡單。人是一定可以了解無限的,如果在他年輕正發展感知能力的時候,容許他冒險進入宇宙,而不是把他禁錮在地球上,甚至局限於窮鄉僻壤的四壁之中。如果一個人可以想像無窮的快樂究竟是多大快樂,他就會了解無限的空間究竟是多大空間─我想空間比快樂應該容易理解得多。
這段話激盪出陳先生二○○二年在美國麻州劍橋所發表的一篇科學論文:"Poetic and Scientific Representation of Infinity: A Wavelet Approach to the Impulse Function"大概可以譯成:「詩與科學在『無窮大』上的表現方式:以小波方法看脈衝函數」。
這是由米列娃信中的哲學思考與文學描述,所帶出來的一篇科學論文;而一般散文的語言更是反映了陳先生同時使用兩種工具作詩的特色。而在覓句的過程中,這兩種語言可以互相補足。

先從〈時空之海─布萊克的一幅畫〉說起。這篇文章本身也是一封信,陳氏從布萊克的畫說到他的詩,再從他的詩中摘出四句,並自譯如下:
一粒砂裏有一個世界,一朵花裏有一個天堂,
把無窮無盡握於手掌,永恆寧非是剎那時光。
這幾句詩是戴森( Freeman Dyson)最愛引的。他之所以愛引,陳先生以為並非因為詩美,而是因為戴森瞭解愛因斯坦的語言。〈廣義相對論〉只有一個式子,陳在這篇散文裏特別列出來:
Pμν–1/2gμνR=–8πGTμν
他接着說,若不用數學,而用詩句來說明愛因斯坦的時空觀,沒有比布萊克這幾句更神似的了。牛頓的時空觀以為時間是無盡的長流,空間是無限的延展。而愛氏的則是:「過去、現在及未來並無區別,只是幻象而已。」〈時空之海〉最後以陸游的兩句詩作結:
三十萬年如電掣
斷魂幽夢事茫茫
八百多年前的中國詩是不是暗合了愛因斯坦宇宙的秘密?
陳之藩也可以引惠勒( John Wheeler)的兩句話來說明廣義相對論,而這兩句話即使沒有詩的形式,卻有詩的內容:
空間作用於物質,告訴它如何運動;
物質作用於空間,告訴它如何彎曲。
陳先生曾告訴我,愛因斯坦形容他自己建立的方程式,左邊堅實如鑽石,右邊軟弱如蘆葦。由此他想到已隨風而逝的故友巴弧天。巴弧天說,「『魚戲藻』該對甚麼好呢?應該對『鼈爬沙』。因為『魚戲藻』這麼美而巧的句子只能對像『鼈爬沙』那樣又笨又拙的。」陳先生對我說,「『魚戲藻』就是廣義相對論等號左邊的鑽石,而『鼈爬沙』就是右邊的蘆葦了。」
廣義相對論從數學式子到布萊克的詩,再到惠勒的佳句;從愛因斯坦對自己方程式的形容再到巴氏戲言,陳先生逍遙而遊,從不同的方向與角度在覓句,已不是他年輕時所說最好的出來了,其他的人就罷唱,而是不斷會有新的佳句出現,他也就繼續享受覓句的過程。

《散步》這本散文集裏有一輯很特別,收的文章主要是有關科學的題目。除了說「黃金分割」的四篇外,一篇談資料壓縮,是為成大電機系戴顯權教授的書所作的序;一篇說費曼( Richard Feynman)1/243=0.004,115,226,337,448的怪數。
論「黃金分割」的那幾篇,說明由十進位來表示的0.382與0.618兩個數字,若以二進位來表示,會得到「對稱」的圖形。換言之,黃金分割以二進位來表示時,呈現出對稱之美,兩數之間是鏡面對稱,而一數發展開來是平移對稱。這幾篇文章發表的時候,曾引起極為熱烈的討論,而對一些質疑,陳先生又很幽默地引出列子「取金之時,不見人,徒見金」的故事來自嘲。對陳先生而言,任一問題在他思考、探索的過程中,不論是古是今,是中是外,是科學,是人文他都能予取予求,自由運用。譬如講費曼那個怪數的文章卻是從何其芳的詩句開始的:
上帝既然創造了夜令人安息,
就不該再創造令人無眠的月光。
把失眠的原因從費解的數字轉為天宇的月光,給乾枯的話題立時點染出詩意。其實何其芳的原句是這樣的:
神啊,你創造黑夜是為了睡眠,
為甚麼又創造這月亮,這群星,
這飄浮在唇邊的酒一樣的空氣?
陳先生少年時欣賞其詩中意象,不知不覺記住了,但卻在無意間替人改了文字,只是這改動竟比原詩更精煉、更簡潔。
說明資料壓縮的必要,陳先生可以從今日信息的頻繁傳遞與大量堆存回溯到《史記》的寫作方式。書寫的過程是信息的傳遞,而儲存則在於「藏之名山」的竹簡。資料壓縮的方法是以精純的文字來節省竹簡的空間,而後人閱讀的工具則是古文的認識與理解,所以讀史可以視為編碼解碼的程序,而竹簡如晶片,所寫的字則是位元了。這樣貫通古今的思考方式,可以從電腦的科技發展追究到上古史的寫作,因而悟出竹簡到晶片是工具在變,而傳遞與儲存的思想其實並沒有改變太多。陳先生散文的語言縱浪大化之中,並沒有甚麼科學與人文的區別。

又有一次,陳之藩帶着電腦數據與圖表,特地從台南到香港來看楊振寧,為的是討論與狄拉克( Paul Dirac)的單衝函數有關的一個問題。他想到單衝函數之為工具,帶我們走向相對的量子世界,而電腦的出現,坐實了狄拉克發明的各種符號。陳先生想知道在電腦世界中,單衝函數是否還有增益的可能?
那一天是一九九九年的十二月八日。陳先生為當天與楊振寧的見面寫了一篇日記,發表時的題目就叫做〈日記一則〉。整個討論似乎應專注於單衝函數的,陳氏卻以楊先生的一句話帶過了:「單衝函數在量子力學上應用的並不多」;轉而以自己的青少年時期來反襯楊先生的,背景則是對日抗戰大時代的漫天烽火。這一篇散文帶着自傳的性質,也是第一次我看見他形容楊為「天上的彩虹,漂漂亮亮的」;而自己為「地上的溪水,曲曲折折的。」陳氏這比喻非指成就的高低,而是指彩虹環境的單純與溪水遭遇的複雜。這複雜二字是他對自己人生的感慨,蘊藏着千般未曾言說的坎坷與辛苦,但也僅止於此二字了。這篇文章是這樣結束的:
掛上電話,並未拉上窗簾,外面是萬點晶瑩;不是繁星在天,就是燈火在地。時與空已化為混沌,夢與醒漸分不開。狄拉克的圖線又襲來腦際。睡了。
從香港沙田旅館小屋這一定位,視野拉開了、拉遠了,至於無窮無盡,讓人忘卻自身。然而單衝函數的圖與線卻在萬點晶瑩中出現,撞擊小屋中人的腦袋,而他卻睡了,再也不想那個科學問題了。從開頭的單衝函數,畫了一個圓,到結尾的單衝函數,中間是兩人的一生。起伏跌宕之處,有如神來之筆。

陳之藩早期的散文,比如《旅美小簡》,語言華麗多姿,而情感澎湃,沛然莫之能禦。問題思考的層次分明,表達的手法漂亮,展露出陳氏在文學創作上的才華,機鋒處處。但後期的作品,尤其是《思與花開》中的文章,一如滿天的華采隱隱收攏在浩渺的煙波之中,清光凝定的氣派,令人想起「餘霞散成綺,澄江靜如練」。有一篇文章,題目叫〈背誦與認識〉,如此不具特色的標題,很難想像會是甚麼樣的內容。但絕對想像不到的是,陳先生從杜牧的一首詩說到「相」( Phase)的物理意義,竟是一個認知上的大問題。這首詩是大家從小即琅琅上口的:
清明時節雨紛紛,路上行人欲斷魂;
借問酒家何處有,牧童遙指杏花村。
如此眾所周知的一首詩,又有人不明白季節既曰清明,又怎麼會雨紛紛呢?多年後有香港中文大學電子系的學生聽了楊振寧的演講,說楊所講的「相」他會算,但是不懂,求教於老師。陳則想出來用這首詩去解釋「相」:
本該天氣清而明的,卻雨紛紛了;也就是下一個節氣的「穀雨」超前到了。在中國的醫學或科學上,不論超前( Phase lead)或落後( Phase lag)都是時令不正,會有災變發生。該冷時不冷,該熱時不熱,生物不能適應,植物可能枯死,動物可能鬧起瘟疫來。而我們控制學上常以改換「相」為利器來糾正系統以利正常運行。……
所謂「認識」,不是一件簡單的事。對一首詩作多層次的解釋,已令人覺得不可思議;為詮釋物理的「相」,而聯想到用詩來解,其覓句方式的神奇,更是天外飛來。

又如〈奇蹟年的聯想〉,陳先生以一九○五愛因斯坦的奇蹟年來對比一六六六牛頓的奇蹟年。一九○五年的奇蹟是愛因斯坦開天闢地的三篇大作:布朗運動,狹義相對論與光的量子假說。而一六六六年的奇蹟則是微積分的發明與萬有引力思想的形成。從二人奇蹟般的成就,陳先生說到二人的謙遜,牛頓說自己站在巨人肩上,而愛因斯坦更是絕不居功。陳先生總括二人的貢獻,竟想起荀子〈勸學篇〉上的句子:
登高而招,臂非加長也,而見者遠;順風而呼,聲非加疾也,而聞者彰。
上句指牛頓,而下句指愛因斯坦。陳先生的思考方式跨越時空,自在飛翔。不論今古,不計東西,為他散文的園圃開出奇葩與異卉。 

陳先生自己絕對不寫傳記。他以為傳主作傳,選擇事件本身已放大或縮小了事件在人生中的比重,尤其自傳是為自己作辯護的,觀點既有所偏,何來真相?但他卻非常喜歡看傳記,尤其是西方人的傳記。也許因為中國人有一「諛墓」的文化,而西人有一「懺悔錄」的傳統,許多自傳、傳記、回憶錄乃多少還原了一些文字背後的事實。所以他特別喜歡看西人的傳記。
也許因為愛讀傳記,陳之藩的散文中有一類是關乎科學家的。比如他寫科學家的成就,也寫他們的苦悶;寫他們的貢獻,也寫科學發展在文明演進上對人類的衝擊。這衝擊的結果不一定是正面的,但你也無法阻止其發展的速度與所帶來的能量。陳氏曾引京戲名武生李萬春的話說:「戲者,細也」。亦即在細節之中才見戲。陳先生看科學家的傳記,每能從細節中認識其人,而自己寫科學家的故事,也每能以小見大。比如牛頓在三一學院時代的筆記,反映出他的胸襟狹隘,但也透露出他清教徒式的自我鞭笞。
看泰勒( Edward Teller)的回憶錄,書前的獻詞,獻給來自匈牙利,後來歸化為美籍的四位朋友。他們全是大科學家:房卡門( Theodore von Karman)、西拉德( Leo Szilard)、維格納( Eugene Wigner)、馮紐曼( John von Neumann)。房卡門是錢學森的老師,航天專家。馮紐曼是歐本海默在原子能委員會遭拒後,遞補主任一職的計算機大家。愛因斯坦寫給羅斯福總統要求研製原子彈的那封著名的信,是西拉德與維格納出的主意,而由西拉德與愛因斯坦共同起草的。這本回憶錄在二○○五年出版時,泰勒的四位故人都已不在人間。陳先生認為垂垂老矣的泰勒獻此書予四位逝世的朋友,「不只是以他們的科學成就為榮,而且以他們的政治立場為傲。」即以在全美瀰漫着靠左的氣氛中,他們反共,預示並呼應了日後匈牙利革命的怒潮。這一部傳記不啻是泰勒的,也是那四位科學家的,正如書的副題所示:一部廿世紀科學與政治的日記。
回憶錄呈現了泰勒的政治立場,而泰勒是楊振寧的論文指導教授,楊的尊師重道從他對吳大猷、王竹溪的態度上看得出來,但因親近費米、歐本海默而避談泰勒,在在反映了政治理念上的分歧在學術承傳上的影響。陳先生的〈三山五嶽〉從一個特別的視角為楊振寧的人生做一小注,而這小注的大背景──二戰的風雲與炮聲正是泰勒的回憶錄所見證的大時代。是在陳先生的文章裏,這些大科學家從書本中靜態的知識跳躍而出,還原成活生生的人。三、四十年代的中國留學生,除了楊振寧以外,亦多有與他們直接互動者。二十世紀下半葉的世界地圖因這些留學生的去留而整個動了起來。李白、杜甫雖是千多年前的古人,我因為讀詩而與他們熟稔,彷彿朋友似的;然而這些科學家雖是近人,我卻是生平第一次對他們有感覺。
在《劍河倒影》中,陳先生介紹開溫第士實驗室,知道第四任主持實驗室的教授是分裂原子的盧瑟福( Ernest Rutherford)。但直到〈潮頭上的浪花),說到李國鼎與張文裕在三十年代去劍橋師從盧瑟福,才由李國鼎帶出盧瑟福與卡比查( Pyotr Kapitsa)之間牽涉英蘇兩國的傳奇了。
陳健邦在二○一○年台灣台南的成功大學舉辦的「陳之藩教授國際學術研討會」中口頭發表了「科學家的人間情懷:歷史、傳統、風格的思索」。他提到陳先生的散文有公案的特色,機鋒處處,反襯出作者跳躍性的思考。他以一個四十年讀者的身份,強調出版陳之藩散文集插圖本與註釋本的必要,因為陳氏散文豐富的內容加上跳躍性的思考,對現今的讀者而言,所有陳先生認為「大家都知道」的事情,其實大家都不知道。他現場舉一例,即是卡比查。卡比查是誰?與盧瑟福的關係為何?都不清楚。換句話說,陳之藩認為可能使行文累贅的部份,即陳健邦以為註釋本應該補上的部份。由跳躍式的思考所形成的跳躍式的語言,是陳之藩散文的另一特點。
我們再來看錢德拉塞卡( S. Chandrasekhar),這也是陳健邦在研討會上舉出的例子。不過點到即止,沒有深究。《思與花開》裏〈難堪的挫折〉和〈求真與求美〉兩篇是從李政道對白矮星的研究,直接切入錢德拉塞卡的故事的。
李政道一九五○年的博士論文在天文學方面,寫的是白矮星,所以他先到白矮星理論的創建人錢德拉塞卡工作的天文台與其共事過幾個月。錢德拉塞卡一九八三年獲得諾貝爾獎。得獎原因據陳先生說是他半世紀前對恆星的研究,主要內容是對白矮星的結構和變化的精確預言。是一九三五年年初在英國皇家天文學會的大會上發表的。就在他宣讀論文之後,當時最炙手可熱的天文學大師愛丁頓反駁了他的觀點,且立時把他的論文當眾撕成兩半。這篇論文實是黑洞的萌芽,經此震天撼地的一撕,不只黑洞的研究停頓多年,而錢氏遭此公然侮蔑,在英國再也無法立足,只有橫跨大西洋落腳美國。然而他不但忍受了屈辱,而且理解愛丁頓的火氣是來自他自己根深柢固的成見,而未予以反擊。
這兩篇散文均寫得清楚,卻不易明白,因為所牽涉的背景知識太複雜。陳健邦所謂的跳躍式的語言,至少有部份理由可能是讀者追不上陳先生在知識上的苟日新、日日新、又日新。註釋本的出版似乎有其必要。

在《散步》一書關乎科學家的文章中,有一組陳氏環繞着楊振寧與李政道而寫。楊、李二人不能不說是中國近代科學史上出類拔萃的人物。而他們早年的相知與日後的絕裂也幾乎成了公眾的話題。可能當時中港台為慶祝楊氏八十大壽,一口氣出了許多楊振寧的傳記,內容類似,只是篇幅不同,繁簡有異而已。既為統一口徑,又何必勞師動眾,浪費讀者的時間?而楊李之間的瓜葛,不論誰是誰非,均屬片面之詞。陳之藩對此千人一面的寫作現象,甚感無味。
陳之藩既博覽群書,從各種傳記材料中於不疑處有疑,一些原屬朦朧的影子遂逐漸清晰地浮現出來。於是陳氏自己提起筆來。在比興之外,以賦體描摹這些人生片斷。而在細節的表達之上總有一綜合性的看法,陳先生特別喜歡用詩來概括。
〈橫看成嶺〉宏觀楊氏出生的一九二二年「世界大事」的橫切面,也就是楊氏成長的語境。陳先生在敍述與科學家有關的歷史事實時條分縷析,清楚明白;但最後仍舊以東坡的兩首名詩做結以表明自己的立場。
一為〈題西林寺壁〉:
橫看成嶺側成峯,遠近高低各不同;
不識廬山真面目,只緣身在此山中。
以此總結他所描述的橫切面;一為〈廬山煙雨〉:
廬山煙雨浙江潮,不至平生恨不消;
既至到來無一事,廬山煙雨浙江潮。
以此綜論中國人在科學史上的進展太慢,相對論的立說與規範場的立論還沒有人用人文的語言作較佳的詮釋。我們發現欲表達綜合的概念,陳氏屢屢用詩。與數學相比,詩的語言似乎不夠精確,然而以其比喻的性質反而更加貼近作者想要表達的真義。
再看〈側看成峯〉,陳先生對此一詞語所下的定義是:「觀察一事在時間中的發展,或者一人從昔至今的行藏。」全文起於莎士比亞戲劇《如願》( As you Like it)開頭的一場獨白,也就是從搖籃到墳墓的人生七幕。這是莎翁的戲裏非常有名的一段台詞,但以七個階段中第五段的「法官」時期來解釋自己的立場則是陳先生的天才所在:
然後是法官,腆着便便的大腹,
凜然的眼,整飾的鬚,滿口犀利的大言與堂皇的談吐。
這一段所顯示的不是陳先生的藉口,而是他的謙虛。無人有資格評論他人,因為信息不足,批評即成妄斷。陳先生的本意是:楊李事件,只是他「一時一地一人的側看」,是比較誠實而客觀的探索,但不敢自認所見即真相。最後他用《三國演義》的兩個回目來總結楊李事件,第一回是「宴桃園豪傑結義」,臨近結尾的一百一十八回是「入西川二氏爭功」,以從結義到爭功來反襯從合作到分手的不幸,同時照應了天下事合久必分的道理。
這篇文章作於二○○三年七月,秋天陳氏因收到李政道的打字書《宇稱不守恆發現之爭論解謎》,又從李方的角度看此爭論。陳先生認為李視一九五五年他與楊的〈宇稱不守恆〉論文為楊和密爾斯一九五四年〈同位旋守恆和同位旋規範不變性〉論文的「改正」( correction),而李自己的解釋卻是「延伸」( extension),究竟是改正,還是延伸呢?這兩人的解釋差距太大了。原來的科學問題,經過五十多年的爭論,已成歷史問題。這一個楊振寧常費口舌而李政道也有三百頁的自我辯護,陳先生一如往日以一言而蔽之,即王夫之所愛引的《正蒙.太和》中的名句:「兩不立,則一不可見」。此中有惋惜,也有遺憾。這類文章既不是單獨的科學,也不是單獨的人文。反而在司諾( C.P. Snow)所說的科學與人文兩種文化之外,指出了第三條路,也就是歷史。
陳先生自己不寫傳記,也不願別人寫他。這固然有些極端,但看賈桂琳、蔣夫人、童冠賢的例子,他們顯示自己至死維護沉默的自由,倒是值得人尊敬。除了抄襲與剽竊的不計,由傳主授權的傳記也不知有多少。我有時覺得傳記作者在採訪傳主之後,往往不識剪裁、不作分析,而把傳主之言直接寫進傳裏。如此,傳記就成了長篇墓誌,而傳記作者也就成了傳主的傳聲筒了。〈雕不出來〉用雕刻一事作比喻,正是曲線表達了此意。
這篇散文的語言最精彩之處,在於用四座雕像來表示四位頂天立地的大人物:舊金山的孫中山、費城的印刷小工富蘭克林;美國麻州塞倫的霍桑,以及華爾騰湖畔的梭羅。不論大小,都雕出了或謙抑、或神氣的內在精神。熊秉明也想為楊振寧雕一座像,把二人自小在清華園一起長大的感情全雕進去,但熊直到去世,也未能把楊的像雕出來。陳先生說:「豈止雕刻如此,科學也如此,最珍貴的也許均不可求」。所以陳之藩繼之又說,「有些像雕不出來,也許不是壞事;有些傳寫不出來,也許也不是壞事」。不意四年之後,有一位南京的雕刻師為楊雕了一座像,放置在香港中文大學的校園中,面對着人來人往的百萬大道。楊說〈雕不出來〉可以有後記了,意思是像終於雕出來了。是嗎?就算雕得出來,當然絕對不會是熊秉明的作品。

〈疇人的寂寞〉寫陳省身,不談他的數學,而談他的詩。最早在中學時發表過兩首白話詩,時間是五四運動後七年,可以見到五四在中國文學傳承上的衝擊與影響是多麼大。陳之藩引其中一首〈紙鳶〉,我這裏先抄一段:
紙鳶啊紙鳶!
我羡你高舉空中;
可是你為甚麼東吹西蕩的不自在?
莫非是上受微風的吹動,
下受麻線的牽扯,
所以不能干青雲而直上,
向平陽而落下。……
陳先生以為少年陳省身有作詩的興趣,也有詩的內容,但文字上表達不出感情,所以不是很好的詩,自然更談不上藝術了。陳先生說得客氣,〈紙鳶〉作於一九二六年,雖說剛剛脫離舊時代,但語言實已蒼白貧乏若此。
讀這首詩,自然想起曹雪芹為寶釵所作的一闋詞,李紈評為第一的:
臨江仙 詠柳絮
白玉堂前風解舞,東風捲得均勻;
蜂圍蝶陣亂紛紛,幾曾隨逝水,豈必委芳塵;
萬縷千絲終不改,任他隨聚隨分;
韶華休笑本無根,
好風憑借力,送我上青雲。
陳省身追求獨立與自主,直想逃離束縛,寶釵則不免於世故與俗氣。但就語言而言,一闋舊詞有白話的明白曉暢,一首新詩卻失去了舊體的精鍊優雅。
不知是否有所覺悟,還是受到上世紀六七十年代風靡全世界華人的毛澤東詩詞影響,陳省身後來改作舊詩。陳之藩引了半首:
牛刀小試呈初篇,垂老方知學問難;
四十一年讀舊作,荷花時節傳新知。
頷聯兩句顯然套的是毛詩,但陳先生不屑提起,只說是近人:
三十一年還舊國,落花時節讀華章。
看來陳省身的舊詩也因為不曾受過訓練,而不能掌握其語言。現代的數學家,即古代的疇人。疇人的語言自然是數學了。陳先生卻說平常人不大懂數學這種語言,所以疇人求音,還是要寄情於文字。陳省身的情況是借助於詩,又因不曾學會詩的語言,難以表達,所以寂寞。

香港的朗文出版社,曾在某年的中學教科書裏請陳先生寫一篇短文介紹黃金分割,並在同期的語文教科書裏選用了《旅美小簡》中的兩篇散文。靈活運用兩種文字,是一種特殊的才能,而陳先生優為之。不久朗文又請陳寫一篇短文,以說明何謂說理文字。
這樣的文章本已難寫,要求篇幅短小而至於精悍,字數經濟而意到筆隨,就更難了。尤其想說的理,不是普通做人的道理,更不是平時生活中會遇到的事理。但陳之藩卻從觀察日常現象起筆,態度是科學的,文字卻是詩。這與我們一般的認知也有所不同:好像詩這樣濃縮精審的文字只宜用來談情,說理還是用大白話罷。
可是一如我歷來所強調的,陳之藩可以掌握數學與文字兩種語言,特別是詩。科學與人文在他的思考中,並不是分開的兩回事,而是一件事。就算是說理文字,陳先生的詩意也會在樸素的鋪陳中,開出清麗的小花來。
就這一篇〈說理文字〉而言,對象是中學生。陳先生顧及讀者,開筆說到科學的觀察,引的是老嫗都識的白居易的詩與素喜用詩說理的理學家朱熹的詩。由此逐漸引入一個說理的大問題,所舉之例更是有使天雨粟、鬼夜哭那樣大力量的相對論。所謂說理,是針對普通人的。愛因斯坦的聰明在他出盡法寶,為不同的人解說相對論,不論程度深淺,內行外行,總無法說得到家,最後得由哲學家羅素來說,才傳達出相對論的真義。
陳之藩不以中學生年少而敷衍,反用普通人的語言來解釋羅素對相對論的看法。即:「如要瞭解相對論,就是要拋卻這些『摸不着的東西就認為不實在』的觀念。」
其中有後生可畏的期許,顯出先行者的風範。陳以羅素的看法是解釋特殊相對論的,故再以火車的平行軌道為例,來說明廣義相對論:
我們知道火車的鐵軌是平行的,永不相交,那是從「摸」的觀念所引伸的;但如用「看」的觀念來說,兩條鐵軌在遠方是相交的。也就由此引出非歐幾何與歐氏幾何的不同來了。往日的成見,我們從歐氏幾何所學的,於是因而消除了。
羅素的說明,陳之藩認為最重要的是破除自我的成見。我讀了真是震撼不已。破除成見是多難的事。比起來,學問上是否有所增益反而不是最重要的。這樣我們理解愛丁頓的火爆,雖然不無遺憾,同時更佩服錢德拉塞卡的謙遜與堅持。
陳之藩後期的散文,其純淨澄明一如朱熹的詩句,不假外求,不須尋覓;而兩種工具交錯使用,其水乳交融,已臻化境,又如水天一色涵泳在鑑開的半畝方塘。
(全文完) 

《西游記》(The Journey to the West)

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 余國藩先生的《西游記》(The Journey to the West), 英譯4冊修正本,預計2012年完成。這真是世界文化的大功臣。

Journey to the West

By Cheng'en, Wu

Description 
Journey to the West is one of the Four Great Classical Novels of Chinese literature. It was written in the 16th century during the Ming Dynasty and attributed to Wu Cheng'en. The novel is a fictionalized account of the legendary pilgrimage to India of the Buddhist monk Xuanzang, and loosely based its source from the historic text Great Tang Records on the Western Regions and traditional folk tales. The monk travelled to the "Western Regions" during the Tang Dynasty, to obtain sacred texts (sūtras). The bodhisattva Avalokiteśvara (Guanyin), on instruction from the Buddha, gives this task to the monk and his three protectors in the form of disciples — namely Sun Wukong, Zhu Bajie and Sha Wujing — together with a dragon prince who acts as Xuanzang's steed, a white horse. These four characters have agreed to help Xuanzang as an atonement for past sins. Journey to the West has a strong background in Chinese folk religion, Chinese mythology and value systems; the pantheon of Taoist immortals and Buddhist bodhisattvas is still reflective of Chinese religious beliefs today. Enduringly popular, the tale is at once an adventure story, a spring of spiritual insight, and an extended allegory in which the group of pilgrims journeying toward India represents individuals journeying towards enlightenment. - See more at: http://self.gutenberg.org/wplbn0002827909-journey-to-the-west-by-cheng-en--wu.aspx#sthash.W799LO0y.dpuf


先生的翻譯很認真和講究  譬如說《《西游記》、《紅樓夢》與其他》(三聯,2006)頁482 
提出中國"抒情"詩,宜從"情本說(pathocentricism) 出發。 因此 ,一般用  lyric 的字源(推廣字源可辯論, 因為它可能犯"字源謬誤" ),只是指"非敘述非戲劇"的偏音樂的作品。
實際上,余先生的論點有些道理。但是,現在的辭典將  lyric 解釋為"表達主觀的感情與思想 (Of or relating to a category of poetry that expresses subjective thoughts and feelings, often in a songlike style or form.)





 《西游記》
http://www.gutenberg.org/files/23962/23962-0.txt

文雄:台北大稻埕老房子的故事 (中英文對照繪本 )

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文雄:台北大稻埕老房子的故事 (中英文對照繪本 )

文雄 Wenxiong
台北大稻埕老房子的故事
The Story of an Old House in Taipei
作者 Author: 羅斌 Robin Ruizendaal
插畫 Illustrator: 陳克旻 Comin Chen
台原出版社 Taiyuan Publications
羅斌的相片。
羅斌的相片。
羅斌的相片。

Astapovo 1910〈孤寂・一九一0〉(楊牧)

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Astapovo
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When Tolstoy fell ill while traveling south by train, his daughter Aleksandra and doctor Makovitskii decided that they should cease their journey. They deboarded at Astapovo, a remote transfer station which offered little in the way of facilities. The station master Ivan Ozolin allowed the writer and his entourage to stay in his home, eventually moving out of it completely in order to better accommodate them. 

Ivan Ozolin became a national hero for his generosity. He not only gave up his home, but rendered any assistance needed with great kindness.
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There were no inns at Astapovo, so sleeper cars were brought in to accommodate the family and others attending Tolstoy’s bedside. The latter included doctors, secret agents sent by the government, priests commissioned by the church, and a small battalion of reporters, photographers, and cinematographers. 

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The telegraph operators at Astapovo. The number of transmissions was so high that additional machinery and operators were brought to the station. The collected telegrams from Astapovo were subsequently published by the Soviets in a 1928 edition commemorating the writer’s birth centennial. The intention behind the publication was to show how the Tsarist government had plotted behind the scenes at Astapovo to control any political or religious message that might be conveyed.

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Ilya Tolstoy and his mother at Astapovo.
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The room in Ozolin’s apartment where Tolstoy lived his last days. It was rearranged in order to mimic the space of Tolstoy’s own room, so that he might feel more comfortable. Pillows were brought from the family home to assure that he would be comfortable. The room has been preserved as it was at that time, and is open to the public as part of the museum at Astapovo station.

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One of the most intriguing photographs from Astapovo. Aleksandra appears to be leaving or entering Ozolin’s home, speaking with her brother, mother, and her mother’s nurse. They are apparently laughing at something--a sharp contrast to the story that was told in the papers of a family in conflict and crisis. It bears remembering that the family, even as they gathered at the door barring Sofia Andreevna from seeing her husband, would have had cause to laugh--perhaps at the absurd scene around them, in which their every word was being captured for transmission by telegraph around the world. 

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今天讀到某報導,說[戰爭與和平]出刊150周年。想溫習一下四十七年讀過此書漢譯本的滋味......
盤點一下,War and Peace By Leo Tolstoy/Tolstoi
托爾斯泰同意的翻譯者:.Translators: Louise and Aylmer Maude
我有Norton版和Oxford World Classics 版:網路版
告訴研究pun的朋友,發現"假牙"的雙關語: (順便了解"假牙"史.....)
No, but imagine the old Countess Zubova, with false curls and her mouth full of false teeth, as if she were trying to cheat old age.... Ha, ha,ha! Mary!"
OXFORD版注解: zun in Russia means "teeth".



〈孤寂・一九一0〉
(Leo Tolstoy: from Astapovo, with..., to Sonya)
是什麼樣一種灼熱的意志在寒夜裡
反覆點燃著我衰朽的瞳人,而終於
就在火車長鳴而逝那一刻當我徬徨站在
蒸氣和水霧快速散去的鐵道上方
嘆息吧絲昂雅,啊絲昂雅我的情人
我的愛已經熄滅,斷絕
以及我的恨
我已經失去設想音容與神智的
堅毅之力,設想你開始老去以後
那淺淺髮色底下優游的關注和冷淡,自在
而平滑的前額什麼都不顯示,然而
即使此刻當我已經幾乎
失落自你溫存的笑與責備
自你習慣的慍怒和畏懼
惟獨在你的日記裡
我冗雜地存在,活著──
我依舊可以為昔日的一杯茶
感動,低迴不已,當黃昏的天色沉沉
向我枯坐的窗滲透,包圍
我記得如何悲哀地從一些哲學理念中
悠悠轉醒,手撫著胸口
紙張散了一地
然而別的我都不太記得了,或許
大草原上搖曳發光的黃花像星星點綴
在小站屋簷一角,我們曾經遭遇的
無限蔓延的黃花在路過的草原上
發光──在簷角照著現在這裏
而且我惦念著一些類似的名字
一些聲調,筆劃,痕跡
完全的孤寂
〈孤寂・一九一0〉  (Leo Tolstoy: from Astapovo, with..., to Sonya)  是什麼樣一種灼熱的意志在寒夜裡 反覆點燃著我衰朽的瞳人,而終於 就在火車長鳴而逝那一刻當我徬徨站在 蒸氣和水霧快速散去的鐵道上方 嘆息吧絲昂雅,啊絲昂雅我的情人 我的愛已經熄滅,斷絕 以及我的恨  我已經失去設想音容與神智的 堅毅之力,設想你開始老去以後 那淺淺髮色底下優游的關注和冷淡,自在 而平滑的前額什麼都不顯示,然而 即使此刻當我已經幾乎 失落自你溫存的笑與責備 自你習慣的慍怒和畏懼  惟獨在你的日記裡 我冗雜地存在,活著── 我依舊可以為昔日的一杯茶 感動,低迴不已,當黃昏的天色沉沉 向我枯坐的窗滲透,包圍 我記得如何悲哀地從一些哲學理念中 悠悠轉醒,手撫著胸口 紙張散了一地  然而別的我都不太記得了,或許 大草原上搖曳發光的黃花像星星點綴 在小站屋簷一角,我們曾經遭遇的 無限蔓延的黃花在路過的草原上 發光──在簷角照著現在這裏 而且我惦念著一些類似的名字 一些聲調,筆劃,痕跡 完全的孤寂
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