Quantcast
Channel: 人和書 ( Men and Books)
Viewing all 6854 articles
Browse latest View live

the 'Devil's Bible'

$
0
0


Claims world's largest manuscript was written by Lucifer - and has his image to prove it



The Codex Gigas is the largest medieval manuscript in the world. At nearly nine inches (22cm) thick and 36 inches (92cm) tall, the book is so large that it is said to have required more than 160 animal skins to complete



The mystery of the 'Devil's Bible'
The mysterious manuscript is today housed within the National Library of Sweden in Stockholm and includes a menacing full-page colour image of the Devil.
DAILYM.AI


The mysterious manuscript is today housed within the National Library of Sweden in Stockholm and nicknamed 'the Devil's Bible'.
The text requires at least two people to lift its 165lbs (74kg) of leather binding and vellum pages.
But how it was created is still unknown. 
Legend has it that a monk from the Middle Ages was sentenced to being walled up alive for breaking his monastic vows.
To avoid punishment, the monk promised to write, in a single night, a book containing all human knowledge.
As midnight approached, the monk became desperate and turned to Lucifer for help, offering to make a pact to finish the book in exchange for his soul.
Lucifer agreed and signed the work by adding a self-portrait of himself. In the colourful image, he is placed against an empty landscape framed by two large towers.
According to a report by National Geographic several years ago, handwriting analysis by palaeographer Michael Gullick at the National Library of Sweden indicated that one scribe did compose the entire manuscript.





Edward Lear 諧趣詩 鳥類畫『未晚齋』

$
0
0
Artist and author Edward Lear died ‪#‎onthisday‬ in 1888. Although he was a painter by profession, he is better known as the author of nonsense verse and limericks. Can you devise a limerick in his honour? http://ow.ly/I90ta


Artist and author Edward Lear died #onthisday in 1888. Although he was a painter by profession, he is better known as the author of nonsense verse and limericks. Can you devise a limerick in his honour? http://ow.ly/I90ta





讀"愛德華.李爾:隱藏在自然史後的狂野面"《知識通訊評論》116期目錄
(今年是 Edward Lear 200周年慶  上文登在科學雜誌 因他也是著名的鳥類插畫家 Edward Lear - Wikipedia, the free encyclopedia    奧杜邦(John James Audubon)創作的《美國鳥類》(The Birds of America此書中國有翻譯)齊名。)

想起一段友情





2005年我介紹 Edward Lear 的諧趣詩 Edward Lear, Book of Nonsense 1-10
並贈『未晚齋』給文友瑞麟
他很有毅力  將該書以"每日一詩"方式翻譯出來



可惜的是  瑞麟兄給我回信說  他已將BLOGs中英美文學部分都刪除了


----2005 Simon University 一瞥
rl 留言(re: 李叔湘先生的『未晚齋』(文集)--
為了這篇作業不想作晚飯的rl ):「
吕叔湘:《未晚斋杂览》为32开本,全书不到百页,收录七篇文章:

霭理士论塔布及其它
赫胥黎和救世军
葛德文其人
李尔和他的谐趣诗
《第二梦》
《书太多了》
买书‧卖书‧搬书

其中的李尔和他的谐趣诗就是日前我每日一诗的诗人Edward Lear;校长所提的J.M. Barrie作品指的是Dear Brutus,则是在《第二梦》这篇文章里,我个人因为并未阅读过这部作品,所以对此无动于衷。文中大致介绍这是三幕剧剧本,剧名取自第三幕,剧中人引用莎翁的两行诗:
Casius The fault, dear Brutus, is not in our stars, But in ourselves, that we are underlings.
(以上英文无误地抄自该书,显然版面需要加以订正)
书中提到朱生豪的译文,并对朱译underlings作「受制于人」有意见。
文章取名《第二梦》是作者曾在协和医学院看过燕大毕业演出的一个话剧,剧名就叫《第二梦》,作者觉得情节与Dear Brutus十分相似,认为是译本或改编本。文章其余部分开始介绍第二梦的故事和一些对白。
文末始介绍J.M. Barrie一生写了38个剧本,其中以《可敬的克莱登》和《彼得潘》最有名。」
*****
由於讓RL晚餐誤點,準備介紹 Sir J.M. Barrie。發現電影之原作:
參考:
http://www.newyorker.com/critics/atlarge/?041122crat_atlarge

LOST BOYS
by ANTHONY LANE
Why J. M. Barrie created Peter Pan.
----
J.M. Barrie 的介紹和電子檔,英國和日文都很豐富。

我們可以從更寬的視野看Sir J.M. Barrie在英國/蘇格蘭/世界文化的主要業績,參考下書所特別介紹的這些作家(這本書hc還沒讀過):
Jackie Wullschlager, Inventing Wonderland: The Lives and Fantasies of Lewis Carroll,
Edward Lear, JM Barrie, Kenneth Grahame, and A A Milne, 1996. 日本翻譯:『不思議の国をつくる:キャロル、リア、バリー、グレアム、ミルンの作品と生涯』
「…..文末始介绍J.M. Barrie一生写了38个剧本,其中以《可敬的克莱登》和《彼得潘》最有名。」


這兩本/齣劇本的書名都成為英國(文)的常用名詞。
《可 敬的克莱登》就是The Admirable Crichton, J. M. Barrie在 1902的作品。(日本翻譯: 「天晴れクライトン」 (1902年初演)【天晴れ(あっぱれ) 意思: Bravo!/ Well done!・~な splendid; admirable; glorious.】 http://www.answers.com/topic/the-admirable-crichton-1?hl=crichton
要了解The Admirable Crichton作為類型人物,先要了解劇情/歷史。
The Admirable Crichton指「無所不能、面面俱到/俱佳的人」。

Peter Pan 為長不大的小孩。這成為商標。1960年代,美國流行一種通俗心理學TA,說法是人人的人格中都還有一CHILD要照顧……

The Birth (and Death) of Edward Lear

May 12, 2014 | by 
1862ca-a-book-of-nonsense--edward-lear-001
You’d think it would be easy to invent nonsense words. After all, the real lexical bummer usually rests in the burden of definition: your average neologism has to mean something. Nonsense words, on the other hand, are not merely devoid of but entirely divorced from meaning—creating them should just be a matter of aesthetics. Throw a couple consonants together, make sure there’s a vowel in there someplace: voilà. And yet—
Hlerkjer—not a very good nonsense word.
Grimblurp—better, but still aesthetically lacking…
Runcible—now, that’s quality nonsense.
Lear_Runcible_spoonRuncible is a creation of Edward Lear’s, arguably his pièce de résistance—though it faces stiff competition from the likes oftilly-looYonghy-Bonghy-Bòtiniskoop,cheeriousmeloobiousgromboolian,mumbianbruffleddolomphiousborascible,fizzgiggioushimmeltanioustumble-dum-downspongetaneous, and blatter-platter. Lear, born today in 1812, was a prolific painter and illustrator, but the poem—especially the limerick—is where he really left his mark. In such volumes as The Book of Nonsense;More Nonsense Songs, Pictures, Etc.Nonsense BotanyThe Quangle-Wangle’s Hat; andScroobious Pip, he cultivated an ear for twaddle, malarkey, and piffle that remains largely unrivaled in letters to this day. His nonsense words have a certain authority to them, so much so that one feels compelled to define them—and on the tongue they have an inimitable springiness, an Anglo-Saxon lilt. When Lear’s characters aren’t named after nonsense or spouting it, they tend to be pursuing it in some form or another, as they do here, in the first stanza of “The Jumblies”:
They went to sea in a Sieve, they did,
In a Sieve they went to sea:
In spite of all their friends could say,
On a winter’s morn, on a stormy day,
In a Sieve they went to sea!
And when the Sieve turned round and round,
And everyone cried, “You’ll all be drowned!”
They cried aloud, “Our Sieve ain’t big,
But we don’t care a button, we don’t care a fig!
In a Sieve we’ll go to sea!”
Far and few, far and few,
Are the lands where the Jumblies live;
Their heads are green, and their hands are blue,
And they went to sea in a Sieve.
Edward_Lear_More_Nonsense_07Those idiotic Jumblies!
If Aesop had written his fables on a steady regimen of opiates, they might have turned out like Lear’s poems.
I came to Lear not through runcible—which remains, especially when paired with spoon, a vital part of the popular imagination—but by way of “The Death of Edward Lear,” a 1971 short story by Donald Barthelme in which Lear invites his friends and associates to join him at his deathbed. (He puts on quite a show, in one sense, and not much of a show at all, in another.) Barthelme, of course, was a purveyor of his own grade-A nonsense; you can read “The Death of Edward Lear” as a sort of winking memorial, even if it lacks for limericks. As is often the case with a Barthelme story, its humor begins to accrue a sense of sadness, an existential weight, as it goes on:
People who attended the death of Edward Lear agreed that, all in all, it had been a somewhat tedious performance. Why had he seen fit to read the same old verses, sing again the familiar songs, show the well-known pictures, run through his repertoire once more? Why invitations? Then something was understood: that Mr. Lear had been doing what he had always done and therefore, not doing anything extraordinary. Mr. Lear had transformed the extraordinary into its opposite. He had, in point of fact, created a gentle, genial misunderstanding.
Edward_Lear_A_Book_of_Nonsense_01Thus the guests began, as time passed, to regard the affair in an historical light. They told their friends about it, reenacted parts of it for their children and grandchildren. They would reproduce the way the old man had piped "I've no money!" in a comical voice, and quote his odd remarks about marrying. The death of Edward Lear became so popular, as the time passed, that revivals were staged in every part of the country, with considerable success. The death of Edward Lear can still be seen, in the smaller cities, in versions enriched by learned interpretation, textual emendation, and changing fashion. One modification is curious; no one knows how it came about. The supporting company plays in the traditional way, but Lear himself appears shouting, shaking, vibrant with rage.

The Cambridge Companion to William James/ The Jameses: a family narrative

$
0
0



"The art of being wise is the art of knowing what to overlook."

—William James

 “Royce, you're being photographed! Look out! I say, Damn the Absolute!” —William James. http://tpr.ly/1KXWH3O




“I abhor this hawking about of everybody’s phiz,” he wrote to his publisher about author photos, which were then a novelty.
THEPARISREVIEW.ORG|由 TIERRA INNOVATION 上傳

Front Cover
Ruth Anna Putnam
Cambridge University Press, Apr 13, 1997 - Philosophy - 406 pages
William James (1842-1910) was both a philosopher and a psychologist, nowadays most closely associated with the pragmatic theory of truth. The essays in this companion deal with the full range of his thought as well as other issues, including technical philosophical issues, religious speculation, moral philosophy and political controversies of his time. New readers and nonspecialists will find this the most convenient and accessible guide to James currently available. Advanced students and specialists will find a conspectus of recent developments in the interpretation of James.

Contents


December 1910


William James


by James JacksonPutnam

The Jameses: a family narrative

封面

Farrar, Straus, and Giroux, 1991 - 695 頁
Even if the James family hadn't given us both William the philosopher and psychologist, and Henry the novelist, the story of this quirky, wealthy, socially prominent clan would still be riveting. Full of incidents that would become legendary, The Jameses brings to life 150 years of unforgettable American history. Four 8-page inserts.

其他版本 - 檢視全部
1993無預覽
1991無預覽關於作者 (1991)Chicago native Richard Warrington Baldwin Lewis, the son of Leicester and Beatrix (Baldwin) Lewis, was born on November 1, 1917. Lewis was educated in Switzerland, at Phillips Exeter Academy, at Harvard University, at the University of Chicago, where he received his M.A. in 1941. Lewis spent World War II engaged primarily in intelligence work for the British. Following the war, he began a long academic teaching career, focused mainly on American literature and social studies, at Bennington College and Princeton, Rutgers, and Yale universities. Lewis has created such critical and biographical books on authors and 19th-century United States history as The American Adam (1955), Edith Wharton (a 1975 biography that won the Pulitzer Prize, Bancroft, and Critics Circle awards), and The Jameses: A Family Narrative, about author Henry James and his family.

書目資訊書名The Jameses: a family narrative
作者Richard Warrington Baldwin Lewis
版本圖解出版者Farrar, Straus, and Giroux, 1991
ISBN0374178615, 9780374178611
頁數695 頁

The Oxford Companion to the Supreme Court of the United States/Reconsidering the Insular Cases: The Past and Future of the American Empire,

$
0
0

The Oxford Companion to the Supreme Court of the United States (2 ed.)  

Edited by Kermit L. Hall


This online edition was reviewed and selectively updated by the original editor in 2011.
The highly‐acclaimed Oxford Companion to the Supreme Court was first published in 1992, since which time the Supreme Court has continued to write constitutional history. This new edition of the Companion has been fully updated and includes new entries on key cases and full treatment of crucial areas of constitutional law, such as abortion, freedom of religion, school desegregation, freedom of speech, voting rights, military tribunals, and the rights of the accused.
This is an accessible and authoritative guide, essential for judges, lawyers, academics, journalists, and anyone interested in the impact of the Supreme Court's decisions on American society.

****

13 May 2015


陳照旗、張瑞美「回家生活」把書種進土裡去[楊惠君]

$
0
0

【食代的轉角】把書種進土裡去

2015-05-13 22:50
[完整介紹]
輔仁大學大眾傳播系畢,曾任《民生報》醫藥組資深記者、《蘋果日報》副總編輯,現為獨立文字工作者,關注健康醫療與農業生活,作品包括《有種美味叫志氣》、《週末的那堂課》、《穿越夢境,遇見最真實的自己》。
【食代的轉角】把書種進土裡去
在大出版商都在洶湧的數位時代新浪潮中迷航受難的時刻,揹著滿滿鄉愁的陳照旗(左二)回到故鄉宜蘭,決定返樸歸真、把書種進土地裡,卻因此意外地寫下了一段段「回家生活」的動人故事。(圖:民報合成)
國內規模最大的出版集團城邦媒體控股集團日前裁員,引發關注。集團董事長何飛鵬發出親筆信說明,「因為紙媒介的衰退」,在集團下的電腦家庭出版集團(PC home)縮減了14個員工。部分同業呼應:「出版業不景氣,因為現在人不讀『書』。」
今年初,國家圖書館公布的台灣去年度出版量確實顯示,連續兩年出現衰退,由2012年的4萬2305種、掉到去年的4萬1598種。有趣的是,2012年公布的另一個統計,台灣平均每550人就有一本新書,新書擁有率高居亞洲第一、世界第二(僅次於英國的每421人一本)。
所以,台灣人被書海淹没、但書卻根本沒有機會被看見?
熟知出版業的都知道,大型出版社一個月出書量可能多達10來本,有些編輯甚至同時間要產製兩本書,書的產出量如此龐大、卻僅少數被網路書店和連鎖書店「相中」的書,有機會擺上好的位置「露臉」;這些「重點書」,也才有機會讓出版社願意投資宣傳。
沒有被通路青睞的書,要在茫茫書海裡尋獲知音、生根蔓葉,需更長的時間;但書店的新書期3個月、好比職場都已失去正當性的試用期,沒起色、就資遣下架。更別說有些被講求快速製作衝量「轉現金」的書,根本未經品管、就粗糙問巿,如何埋怨無人埋單。
儘管數位革命翻覆了紙本閱讀時代,但許多出版業者卻親手埋葬紙本出版品的生命力,全力轉向電子媒體和數位平台發展,緊抓住紙本數位化當成航向新大陸的羅盤。
                              by harveyhuang1010 
難道沒有另一種可能?浸淫出版事業30年的上旗出版社社長陳照旗,進行了一個「反向」操作的試驗,脫逃通路和巿場的制約,把書還原到文字之前的動機,由環境人文、生活實踐裡去自然長成,開花結果。
上旗是個不到10人的小型出版社,經營風土小旅行和食農教育路線頗具風格,去年,出版社由台北遷移到羅東。勾動60歲的陳照旗做出這個決定,是一間座落在羅東公園正對面、窗外有大片綠蔭映眼簾的透天厝(如下圖.作者攝),因為綠蔭裡暗藏著一片他私屬的鄉愁。
那房子原是間以在地農產為食材的蔬食餐廳,是陳照旗夫婦帶作者或友人遊宜蘭時必款待的「味自慢」。身為羅東子弟,老父仍在家鄉守著一片田,陳照旗和多數離鄉打拼人的藍圖一樣,計畫65歲後「卸甲歸田」、再接下老父肩上的鋤頭。但那棟待售的房子卻似向他開釋:人生與出版,都不必是「約定俗成」。
短短兩天內,他便買下了那棟透天厝。然後結集多年來因出書熟識的農青、文創者的巧思,設計LOGO、打造空間,掛上了「回家生活」的招牌。一樓就販售自家書裡曾介紹的台灣手作好食和好物;二樓除了做出版社辦公室和書店、自己的書自己賣,並打造了教室和廚房,空間就定位為「書食小鋪」,反巿場的「數位化」、而是把書本「實體化」。
陳照旗的太太張瑞美(下圖左)說:「一開始真沒想到這個地方要怎麼經營。」離開了文化事業的主戰場台北?乍看像逃兵。卻從過去出版的書和採訪、紀錄的農人們身上,滋養出新的「回家生活」;再由「回家生活」引發了新的創作和出版,像是一畝與自然共生共榮的有機田。
「回家生活」裡有許多獨家商品,像是全家都是藝術家的宜蘭「飛鳥小屋」民宿女主人林麗瓊,從70多歲母親的手縫布織品、到植物插畫家姊姊林麗琪繪製的「花送幸福」提袋,和她自己的手作麵包、番茄沙沙醬和青醬。而麗琪和麗瓊都是上旗的作者。
過去,上旗出版社是紀錄的角色,現在則是這些農人、手作及藝術者成為共同「創作」的夥伴。協助穀東俱樂部創辦人賴青松的米,結合花蓮特優蜜香紅茶和新竹東方美人抹茶粉開發出他自己品牌的「青松米菓」。也商情新竹BaxterGelato義大利式手工冰淇淋好友,把青松米和米糠麩、荳之鄉季芝麻、花蓮美好花生醬做出百分百台灣味的米香及芝麻、花生百分百台灣味冰淇淋。
一個因緣際會來到羅東的新加坡油品資訊的企業家,嚐到了這些美好的台灣味、傾慕陳照旗夫妻的生活,返國後竟把事業交棒,開起星國版的「回家生活」、專門引進羅東「回家生活」的商品,包括賴青松的米菓、苗栗公館棗道24K(如下圖)的鮮果汁和紅棗製品等等。陳照旗夫妻又協助這些小農們做起出口貿易。
「我們真心希望把這些台灣好東西,讓有心人細細品嚐,不是只當『伴手禮』搶巿。」張瑞美提到,曾有陸客經過「回家生活」,不明究理,看到是有機產品、直覺是好東西,要員工「全部包起來」,員工嚇壞了立即向張瑞美求助。她出面向客人解釋,每樣東西都是手做、數量有限,希望更多人品嚐到,最後每樣只賣他們二、三份;讓準備花錢的陸客也傻眼,「怕東西一次被賣光的店,還是頭一次見」。
上旗透過「回家生活」,把出版物變成一顆有生命的「種籽」,除了售販,也以料理分享、論壇和展覽,讓食農與生活美學「承接地氣」 攏聚了一群在地群眾,串起宜蘭農與食、生活與文化的平台;透過這股地氣,佐以時間醞釀出版的果實。「我們出版的數量確實也減少了,但一本一本慢慢作。」陳照旗說。
返回羅東後,他們花了一年時間,共同參與、推動了宜蘭縣員山鄉的深溝國小的食農教育歷程,有學童和老農學習種稻的過程;有社區媽媽們教孩子們古早米食製作和典故,最近結集出版成《食農小學堂:從田裡到餐桌的食物小旅行》一書,呈現出在地的田園紀錄、世代經驗傳承,也有放諸四海皆可參照的普世價值與運作模式。(下圖:除了食農小學堂,上旗文化也慢工細活出版許多好書)
有意思的是,撰文者也是宜蘭當地農青,出版社和作者,是紀錄、歡察者、亦是投身的當事者。透過「書食小鋪」類型的實體經營,各種活動和分享會,形同長期培養讀者,不以書巿慣行的新書折扣促銷,《食農小學堂》甫出版、就有不錯的巿場反應。
就在大出版商都在洶湧的數位時代新浪潮中迷航受難的時刻,上旗出版社返樸歸真、把書種進土地裡,卻意外開創出的小規模獨立出版社的「藍海」。

《蝴蝶夢》(Rebecca)Daphne Du Maurier

$
0
0
達夫妮·杜穆里埃女爵士,布朗寧爵士夫人DBEDame Daphne du Maurier, Lady Browning,1907年5月13日-1989年4月19日),一譯達夫妮·杜莫里哀,英國小說家、劇作家。
杜穆里埃的小說多以故鄉康沃爾郡的海岸為地點,情節曲折,扣人心弦,代表作品有《蝴蝶夢》和《牙買加客棧》[1]。她的多部作品都被改編為電影,當中包括《蝴蝶夢》、《牙買加客棧》兩部小說和《》、《威尼斯癡魂》兩個短篇故事。前三部電影都由亞佛烈德·希區考克執導,而最後一部電影則由尼古拉斯·羅伊格執導。
http://en.wikipedia.org/wiki/Daphne_du_Maurier



大部分人認為她的最佳作品是多次改編為戲劇和電影的小說《蝴蝶夢》(Rebecca)或譯作《麗貝卡》。1938年她憑藉這部小說贏得了美國國家圖書獎[3]   http://en.wikipedia.org/wiki/Rebecca_%28novel%29

《蝴蝶夢》的改編電影獲得了巨大成功,獲得了1941年的奧斯卡最佳影片獎。

Rebecca (1940) - Full movie

  • 2 years ago
  • 949,451 views
When a naive young woman marries a rich widower and settles in his gigantic mansion, she finds the memory of the first wife ...


Daphne Du Maurier, author of ”Rebecca,” was born on this day in 1907.

From Alfred Hitchcock’s film adaptation of Rebecca, 1940. The moment of crisis had come, and I must face it. My old fears, my diffidence, my shyness, my hopeless sense of inferiority, must be conquered now and...
THEPARISREVIEW.ORG|由 SADIE STEIN 上傳

余承堯的世界

$
0
0
商品圖片

余承堯的世界
雄獅美術 著/雄獅圖書
出版日:1988/0


1980年代看 余承堯

隔30年到閩南

原來余承堯的世界在天國



向明的相片。

改變美國的書 Books That Changed America :"Leaves of Grass"...

$
0
0








  • Books That Changed America, Macmillan, 1970.
  • Books That Changed America Paperback – January 1, 1971
by Robert B. Downs (Author) 改變美國的書  ,彭哥譯,台北:純文學,1971

Robert Bingham Downs (May 25, 1903– February 24, 1991) was a prolificAmerican author and librarian. Downs was an advocate for intellectual freedom as well.[2] Downs spent the majority of his career working against, and voicing opposition to, literary censorship. Downs authored many books and publications regarding the topics of censorship, and on the topics of responsible and efficient leadership in the library context.[2]
Library of Congress Announces Their Books That Changed America









Books That Changed America Paperback – January 1, 1971





Benjamin Franklin, "Experiments and Observations on Electricity" (1751)
In 1751, Peter Collinson, president of the Royal Society, arranged for the publication of a series of letters from Benjamin Franklin, written between 1747 and 1750, describing his experiments with electricity. Through the publication of these experiments, Franklin became the first American to gain an international reputation for his scientific work. In 1753 he received the Copley Medal of the Royal Society for his contributions.

Benjamin Franklin, "Poor Richard Improved" (1758) and "The Way to Wealth"
As a writer, Benjamin Franklin was best known for the wit and wisdom he shared with the readers of his popular almanac, "Poor Richard," under the pseudonym "Richard Saunders." In 1758, Franklin created a clever preface that repeated a number of his maxims, framed as an event in which Father Abraham advises that those seeking prosperity and virtue should diligently practice frugality, honesty and industry. It was reprinted as "Father Abraham’s Speech" and "The Way to Wealth."

Thomas Paine, "Common Sense" (1776)
Published anonymously in Philadelphia in January 1776, "Common Sense" appeared at a time when both separation from Great Britain and reconciliation were being considered. Through simple rational arguments, Thomas Paine focused blame for Colonial America’s troubles on the British king and pointed out the advantages of independence. This popular pamphlet had more than a half-million copies in 25 editions appearing throughout the Colonies within its first year of printing.

Noah Webster, "A Grammatical Institute of the English Language" (1783)
Believing that a distinctive American language was essential to creating cultural independence for the new nation, Noah Webster sought to standardize rules for spelling and pronunciation. His "Grammatical Institute" became the popular "blue-backed speller" used to teach a century of American children how to spell and pronounce words. Its royalties provided Webster with the economic independence to develop his American dictionary.

"The Federalist" (1787)
Now considered to be the most significant American contribution to political thought, "The Federalist" essays supporting the ratification of the new Constitution first appeared in New York newspapers under the pseudonym "Publius." Although it was widely known that the 85 essays were the work of Alexander Hamilton, James Madison and John Jay, the initial curious speculation about authorship of specific essays gradually developed into heated controversy. Hamilton left an authorship list with his lawyer before his fatal duel. In his copy, Madison identified the author of each essay with their initials. Thomas Jefferson penned a similar authorship list in his copy. None of these attributions exactly match, and the authorship of several essays is still being debated by scholars.

"A Curious Hieroglyphick Bible" (1788)
Hieroglyphic Bibles were popular in the late 18th century as an effective and entertaining way to teach children biblical passages. Isaiah Thomas, the printer of this 1788 edition, is widely acclaimed as America’s first enlightened printer of children’s books and is often compared to John Newbery of London, with whom he shared the motto "Instruction with delight."

Christopher Colles, "A Survey of the Roads of the United States of America" (1789)
Irish-born engineer and surveyor Christopher Colles produced what is considered the first road map or guidebook of the United States. It uses a format familiar to modern travelers with each plate consisting of two to three strip maps arranged side by side, covering approximately 12 miles. Colles began this work in 1789 but ended the project in 1792 because few people purchased subscriptions. But he compiled an atlas covering approximately 1,000 miles from Albany, N.Y., to Williamsburg, Va.

Benjamin Franklin, "The Private Life of the Late Benjamin Franklin, LL.D." (1793)
Benjamin Franklin was 65 when he wrote the first part of his autobiography, which focused on his early life to 1730. During the 1780s he added three briefer parts that advanced his story to his 50th year (1756) and revised the first part. The first book-length edition was published in Paris in 1791. The first English edition, a retranslation of this French edition, was published in London in 1793. Franklin’s autobiography still is considered one of the most influential memoirs in American literature.

Amelia Simmons, "American Cookery" (1796)
This cornerstone in American cookery is the first cookbook of American authorship to be printed in the United States. Numerous recipes adapting traditional dishes by substituting native American ingredients, such as corn, squash and pumpkin, are printed here for the first time. Simmons’ "Pompkin Pudding," baked in a crust, is the basis for the classic American pumpkin pie. Recipes for cake-like gingerbread are the first known to recommend the use of pearl ash, the forerunner of baking powder.

"New England Primer" (1803)
Learning the alphabet went hand in hand with learning Calvinist principles in early America. The phrase "in Adam’s fall, we sinned all," taught children the first letter of the alphabet and the concept of original sin at the same time. More than 6 million copies in 450 editions of the "New England Primer" were printed between 1681 and 1830 and were a part of nearly every child’s life.

Meriwether Lewis, "History of the Expedition Under the Command of the Captains Lewis and Clark" (1814)
After Meriwether Lewis’s death in September 1809, William Clark engaged Nicholas Biddle to edit the expedition papers. Using the captains’ original journals and those of Sergeants Gass and Ordway, Biddle completed a narrative by July 1811. After delays with the publisher, a two-volume edition of the Corps of Discovery’s travels across the continent was finally available to the public in 1814. More than 20 editions appeared during the 19th century, including German, Dutch and several British editions.

Washington Irving, "The Legend of Sleepy Hollow" (1820)
One of the first works of fiction by an American author to become popular outside the United States, Washington Irving’s "The Legend of Sleepy Hollow" was first published as part of "The Sketchbook" in 1820. Irving’s vivid imagery involving the wild supernatural pursuit by the Headless Horseman has sustained interest in this popular folktale through many printed editions, as well as film, stage and musical adaptations.

William Holmes McGuffey, "McGuffey’s Newly Revised Eclectic Primer" (1836)
William Holmes McGuffey was hired in the 1830s by Truman and Smith, a Cincinnati publishing firm, to write schoolbooks appropriate for children in the expanding nation. His eclectic readers were graded, meaning a student started with the primer and, as his reading abilities improved, moved from the first through the sixth reader. Religious instruction is not included, but a strong moral code is encouraged with stories in which hard work and virtue are rewarded and misdeeds and sloth are punished.

Samuel Goodrich, "Peter Parley’s Universal History" (1837)
Samuel Goodrich, using the pseudonym Peter Parley, wrote children’s books with an informal and friendly style as he introduced his young readers to faraway people and places. Goodrich believed that fairy tales and fantasy were not useful and possibly dangerous to children. He entertained them instead with engaging tales from history and geography. His low regard for fiction is ironic in that his accounts of other places and cultures were often misleading and stereotypical, if not completely incorrect.

Frederick Douglass, "The Narrative of the Life of Frederick Douglass" (1845)
Frederick Douglass’s first autobiography is one of the best-written and most widely read slave narratives. It was boldly published less than seven years after Douglass had escaped and before his freedom was purchased. Prefaced by statements of support from his abolitionist friends, William Garrison and Wendell Phillips, Douglass’s book relates his experiences growing up a slave in Maryland and describes the strategies he used to learn to read and write. More than just a personal story of courage, Douglass’s account became a strong testament for the need to abolish slavery.

Nathaniel Hawthorne, "The Scarlet Letter" (1850)
"The Scarlet Letter" was the first important novel by Nathaniel Hawthorne, one of the leading authors of 19th-century romanticism in American literature. Like many of his works, the novel is set in Puritan New England and examines guilt, sin and evil as inherent human traits. The main character, Hester Prynne, is condemned to wear a scarlet "A" (for adultery) on her chest because of an affair that resulted in an illegitimate child. Meanwhile, her child’s father, a Puritan pastor who has kept their affair secret, holds a high place in the community.

Herman Melville, "Moby-Dick"; or, "The Whale" (1851)
Herman Melville’s tale of the Great White Whale and the crazed Captain Ahab who declares he will chase him "round perdition’s flames before I give him up" has become an American myth. Even people who have never read Moby-Dick know the basic plot, and references to it are common in other works of American literature and in popular culture, such as the Star Trek film "The Wrath of Khan" (1982).

Harriet Beecher Stowe, "Uncle Tom’s Cabin" (1852)
With the intention of awakening sympathy for oppressed slaves and encouraging Northerners to disobey the Fugitive Slave Law of 1850, Harriet Beecher Stowe began writing her vivid sketches of slave sufferings and family separations. The first version of "Uncle Tom’s Cabin" appeared serially between June 1851 and April 1852 in the National Era, an antislavery paper published in Washington, D.C. The first book edition appeared in March 1852 and sold more than 300,000 copies in the first year. This novel was extremely influential in fueling antislavery sentiment during the decade preceding the Civil War.

Henry David Thoreau, "Walden;" or, "Life in the Woods" (1854)
While living in solitude in a cabin on Walden Pond in Concord, Mass., Henry David Thoreau wrote his most famous work, "Walden," a paean to the idea that it is foolish to spend a lifetime seeking material wealth. In his words, "I went to the woods because I wished to live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived." Thoreau’s love of nature and his advocacy of a simple life have had a large influence on modern conservation and environmentalist movements.

Walt Whitman, "Leaves of Grass" (1855)
The publication of the first slim edition of Walt Whitman’s "Leaves of Grass" in 1855 was the debut of a masterpiece that shifted the course of American literary history. Refreshing and bold in both theme and style, the book underwent many revisions during Whitman’s lifetime. Over almost 40 years Whitman produced multiple editions of "Leaves of Grass," shaping the book into an ever-transforming kaleidoscope of poems. By his death in 1892, "Leaves" was a thick compendium that represented Whitman’s vision of America over nearly the entire last half of the 19th century. Among the collection’s best-known poems are "I Sing the Body Electric,""Song of Myself," and "O Captain! My Captain!," a metaphorical tribute to the slain Abraham Lincoln.


On this day in 1855 Walt Whitman registered the title Leaves of Grass with the clerk of the United States District Court, New York; the first edition was published seven weeks later. Over the next thirty-six years Whitman would add many more poems and publish seven more editions, all in an effort to "Unscrew the locks from the doors! / Unscrew the doors themselves from their jambs!"
Walt Whitman 的相片。

Louisa May Alcott, "Little Women," or, "Meg, Jo, Beth and Amy" (1868)
This first edition of Louisa May Alcott’s "Little Women" was published in 1868 when Louisa was 35 years old. Based on her own experiences growing up as a young woman with three sisters, and illustrated by her youngest sister, May, the novel was an instant success, selling more than 2,000 copies immediately. Several sequels were published, including "Little Men" (1871) and "Jo’s Boys" (1886). Although "Little Women" is set in a very particular place and time in American history, the characters and their relationships have touched generations of readers and still are beloved.

Horatio Alger Jr., "Mark, the Match Boy" (1869)
The formulaic juvenile novels of Horatio Alger Jr., are best remembered for the "rags-to-riches" theme they championed. In these stories, poor city boys rose in social status by working hard and being honest. Alger preached respectability and integrity, while disdaining the idle rich and the growing chasm between the poor and the affluent. In fact, the villains in Alger’s stories were almost always rich bankers, lawyers or country squires.

Catharine E. Beecher and Harriet Beecher Stowe, "The American Woman’s Home" (1869)
This classic domestic guide by sisters Catharine E. Beecher and Harriet Beecher Stowe is dedicated to "the women of America, in whose hands rest the real destinies of the Republic." It includes chapters on healthful cookery, home decoration, exercise, cleanliness, good air ventilation and heat, etiquette, sewing, gardening and care of children, the sick, the aged and domestic animals. Intended to elevate the "woman’s sphere" of household management to a respectable profession based on scientific principles, it became the standard domestic handbook.

Mark Twain, "Adventures of Huckleberry Finn" (1884)
Novelist Ernest Hemingway famously said, "All modern American literature comes from one book by Mark Twain called ‘Huckleberry Finn.’ ... All American writing comes from that. There was nothing before. There has been nothing as good since." During their trip down the Mississippi on a raft, Twain depicts in a satirical and humorous way Huck and Jim’s encounters with hypocrisy, racism, violence and other evils of American society. His use in serious literature of a lively, simple American language full of dialect and colloquial expressions paved the way for many later writers, including Hemingway and William Faulkner.

Emily Dickinson, "Poems"(1890)
Very few of the nearly 1,800 poems that Emily Dickinson wrote were published during her lifetime and, even then, they were heavily edited to conform to the poetic conventions of their time. A complete edition of her unedited work was not published until 1955. Her idiosyncratic structure and rhyming schemes have inspired later poets.

Jacob Riis, "How the Other Half Lives" (1890)
An early example of photojournalism as vehicle for social change, Riis’s book demonstrated to the middle and upper classes of New York City the slum-like conditions of the tenements of the Lower East Side. Following the book’s publication (and the resulting public uproar), proper sewers, plumbing and trash collection eventually came to the Lower East Side.

Stephen Crane, "The Red Badge of Courage" (1895)
One of the most influential works in American literature, Stephen Crane’s "The Red Badge of Courage" has been called the greatest novel about the American Civil War. The tale of a young recruit in the Civil War who learns the cruelty of war made Crane an international success. The work is notable for its vivid depiction of the internal conflict of its main character – most war novels until that time focused more on the battles than on their characters.

L. Frank Baum, "The Wonderful Wizard of Oz" (1900)
"The Wonderful Wizard of Oz," published in 1900, is the first fantasy written by an American to enjoy an immediate success upon publication. So powerful was its effect on the American imagination, so evocative its use of the forces of nature in its plots, so charming its invitation to children of all ages to look for the element of wonder in the world around them that author L. Frank Baum was forced by demand to create book after book about Dorothy and her friends – including the Scarecrow, the Tin Woodman, the Cowardly Lion and Glinda the Good Witch.

Sarah H. Bradford, "Harriet, the Moses of Her People" (1901)
Harriet Tubman is celebrated for her courage and skill in guiding many escaping slave parties northward along the Underground Railroad to freedom. She also served as a scout and a nurse during the Civil War. In order to raise funds for Tubman’s support in 1869 and again in 1886, Sarah Hopkins Bradford published accounts of Tubman’s experiences as a young slave and her daring efforts to rescue family and friends from slavery.

Jack London, "The Call of the Wild" (1903)
Jack London’s experiences during the Klondike gold rush in the Yukon were the inspiration for "The Call of the Wild." He saw the way dogsled teams behaved and how their owners treated (and mistreated) them. In the book, the dog Buck’s comfortable life is upended when gold is discovered in the Klondike. From then on, survival of the fittest becomes Buck’s mantra as he learns to confront and survive the harsh realities of his new life as a sled dog.

W.E.B. Du Bois, "The Souls of Black Folk" (1903)
"Few books make history and fewer still become foundational texts for the movements and struggles of an entire people. The ‘Souls of Black Folk’ occupies this rare position," said Du Bois biographer Manning Marable. Du Bois’s work was so influential that it is impossible to consider the civil rights movement’s roots without first looking to this groundbreaking work.

Ida Tarbell, "The History of Standard Oil" (1904)
Journalist Ida Tarbell wrote her exposé of the monopolistic practices of John D. Rockefeller’s Standard Oil Company as a serialized work in McClure’s Magazine. The breakup of Standard Oil in 1911 into 34 "baby Standards" can be attributed in large part to Tarbell’s masterly muckraking.

Upton Sinclair, "The Jungle" (1906)
An early example of investigative journalism, this graphic exposé of the Chicago meat-packing industry presented as a novel was one of the first works of fiction to lead directly to national legislation. The federal meat-inspection law and the Pure Food and Drug Act of 1906 established the agency that eventually became the Food and Drug Administration in 1930.

Henry Adams, "The Education of Henry Adams" (1907)
The dawn of the 20th century and the changes it brought are the subjects of Henry Adams’ "education." Adams lived through the Civil War and died just before World War I. During that time, he witnessed cataclysmic transformations in technology, society and politics. Adams believed that his traditional education left him ill-prepared for these changes and that his life experiences provided a better education. One survey called it the greatest nonfiction English-language book of the last century.

William James, "Pragmatism" (1907)
"Pragmatism" was America’s first major contribution to philosophy, and it is an ideal rooted in the American ethos of no-nonsense solutions to real problems. Although James did not originate the idea, he popularized the philosophy through his voluminous writings.

Zane Grey, "Riders of the Purple Sage" (1912)
"Riders of the Purple Sage," Zane Grey’s best-known novel, was originally published in 1912. The Western genre had just evolved from the popular dime novels and penny dreadfuls of the late 19th century. This story of a gun-slinging avenger who saves a young and beautiful woman from marrying against her will played a significant role in shaping the formula of the popular Western genre begun by Owen Wister in "The Virginian" (1904).

Edgar Rice Burroughs, "Tarzan of the Apes" (1914)
"Tarzan of the Apes" is the first in a series of books about the popular man who was raised by and lived among the apes. With its universal themes of honesty, heroism and bravery, the series has never lost popularity. Countless Tarzan adaptations have been filmed for television and the silver screen, including an animated version currently in production.

Margaret Sanger, "Family Limitation" (1914)
While working as a nurse in the New York slums, Margaret Sanger witnessed the plight of poor women suffering from frequent pregnancies and self-induced abortion. Believing that these women had the right to control their reproductive health, Sanger published this pamphlet that simply explained how to prevent pregnancy. Distribution through the mails was blocked by enforcement of the Comstock Law, which banned mailing of materials judged to be obscene. However, several hundred thousand copies were distributed through the first family-planning and birth control clinic Sanger established in Brooklyn in 1916 and by networks of active women at rallies and political meetings.

William Carlos Williams, "Spring and All" (1923)
A practicing physician for more than 40 years, William Carlos Williams became an experimenter, innovator and revolutionary figure in American poetry. In reaction against the rigid, rhyming format of 19th-century poets, Williams, his friend Ezra Pound and other early-20th-century poets formed the core of what became known as the "Imagist" movement. Their poetry focused on verbal pictures and moments of revealed truth, rather than a structure of consecutive events or thoughts and was expressed in free verse rather than rhyme.

Robert Frost, "New Hampshire" (1923)
Frost received his first of four Pulitzer Prizes for this anthology, which contains some of his most famous poems, including "Stopping by Woods on a Snowy Evening" and "Fire and Ice." One of the best-known American poets of his time, Frost became principally associated with the life and landscape of New England. Although he employed traditional verse forms and metrics and remained aloof from the poetic movements and fashions of his day, poems featured language as it is actually spoken as well as psychological complexity and layers of ambiguity and irony.

F. Scott Fitzgerald, "The Great Gatsby" (1925)
F. Scott Fitzgerald, one of the major American writers of the 20th century, is a figure whose life and works embody powerful myths about the American Dream of success. "The Great Gatsby," considered by many to be Fitzgerald’s finest work and the book for which he is best known, is a portrait of the Jazz Age (1920s) in all its decadence and excess. Exploring the themes of class, wealth and social status, Fitzgerald takes a cynical look at the pursuit of wealth among a group of people for whom pleasure is the chief goal. "The Great Gatsby" captured the spirit of the author’s generation and earned a permanent place in American mythology.

Langston Hughes, "The Weary Blues" (1925)
Langston Hughes was one of the greatest poets of the Harlem Renaissance, a literary and intellectual flowering that fostered a new black cultural identity in the 1920s and 1930s. His poem "The Weary Blues," also the title of this poetry collection, won first prize in a contest held by Opportunity magazine. After the awards ceremony, the writer and photographer Carl Van Vechten approached Hughes about putting together a book of verse and got him a contract with his own publisher, Alfred A. Knopf. Van Vechten contributed an essay, "Introducing Langston Hughes," to the volume. The book laid the foundation for Hughes’s literary career, and several poems remain popular with his admirers.

William Faulkner, "The Sound and the Fury" (1929)
"The Sound and the Fury," William Faulkner’s fourth novel, was his own favorite, and many critics believe it is his masterpiece. Set in the fictional county of Yoknapatawpha, Miss., as are most of Faulkner’s novels, "The Sound and the Fury" uses the American South as a metaphor for a civilization in decline. Depicting the post-Civil War decline of the once-aristocratic Compson family, the novel is divided into four parts, each told by a different narrator. Much of the novel is told in a stream-of-consciousness style, in which a character’s thoughts are conveyed in a manner roughly equivalent to the way human minds actually work. Faulkner was awarded the Nobel Prize in 1950 and France’s Legion of Honor in 1951.

Dashiell Hammett, "Red Harvest" (1929)
Dashiell Hammett’s first novel introduced a wide audience to the so-called "hard-boiled" detective thriller with its depiction of crime and violence without any hint of sentimentality. The creator of classics such as "The Maltese Falcon" and "The Thin Man," shocked readers with such dialogue as "We bumped over dead Hank O’Meara’s legs and headed for home."

Irma Rombauer, "Joy of Cooking" (1931)
Until Irma Rombauer published "Joy of Cooking," most American cookbooks were little more than a series of paragraphs that incorporated ingredient amounts (if they were provided at all) with some vague advice about how to put them all together to achieve the desired results. Rombauer changed all that by beginning her recipes with ingredient lists and offering precise directions along with her own personal and friendly anecdotes. A modest success initially, the book went on to sell nearly 18 million copies in its various editions.

Margaret Mitchell, "Gone With the Wind" (1936)
The most popular romance novel of all time was the basis for the most popular movie of all time (in today’s dollars). Margaret Mitchell’s book, set in the South during the Civil War, won both the Pulitzer Prize and National Book Award, and it remains popular, despite charges that its author had a blind eye regarding the horrors of slavery.

Dale Carnegie, "How to Win Friends and Influence People" (1936)
The progenitor of all self-help books, Dale Carnegie’s volume has sold 15 million copies and been translated into more than 30 languages. "How to Win Friends and Influence People" has also spawned hundreds of other books, many of them imitators, written to advise on everything from improving one’s relationships to beefing up one’s bank account. Carnegie acknowledged that he was inspired by Benjamin Franklin, a young man who proclaimed that "God helps them that helped themselves" as a way to get ahead in life.

Zora Neale Hurston, "Their Eyes Were Watching God" (1937)
Although it was published in 1937, it was not until the 1970s that "Their Eyes Were Watching God" became regarded as a masterwork. It had initially been rejected by African American critics as facile and simplistic, in part because its characters spoke in dialect. Alice Walker’s 1975 Ms. magazine essay, "Looking for Zora," led to a critical reevaluation of the book, which is now considered to have paved the way for younger black writers such as Alice Walker and Toni Morrison.

Federal Writers’ Project, "Idaho: A Guide in Word and Pictures" (1937)
"Idaho" was the first in the popular American Guide Series of the Federal Writers’ Project, which ended in 1943. The project employed more than 6,000 writers and was one of the many programs of the Works Progress Administration, a Depression-era federal government employment program. These travel guides cover the lower 48 states plus the Alaska Territory, Puerto Rico and the District of Columbia. Each volume details a state’s history, geography and culture and includes photographs, maps and drawings.

Thornton Wilder, "Our Town: A Play" (1938)
Winner of the 1938 Pulitzer Prize, "Our Town" is among the most-performed plays of the 20th century. Those who see it relate immediately to its universal themes of the importance of everyday occurrences, relationships among friends and family and an appreciation of the brevity of life.

"Alcoholics Anonymous" (1939)
The famous 12-step program for stopping an addiction has sold more than 30 million copies. Millions of men and women worldwide have turned to the program co-founded by Bill Wilson and Dr. Bob Smith to recover from alcoholism. The "Big Book," as it is known, spawned similar programs for other forms of addiction.

John Steinbeck, "The Grapes of Wrath" (1939)
Few novels can claim that their message led to actual legislation, but "The Grapes of Wrath" did just that. Its story of the travails of Oklahoma migrants during the Great Depression ignited a movement in Congress to pass laws benefiting farmworkers. When Steinbeck won the Nobel Prize in 1962, the committee specifically cited this novel as one of the main reasons for the award.

Ernest Hemingway, "For Whom the Bell Tolls" (1940)
Ernest Hemingway’s novel about the horrors of the Spanish Civil War (1936–1939) depicts war not as glorious but disillusioning. Hemingway used his experiences as a reporter during the war as the background for his best-selling novel, which was nominated for a Pulitzer Prize and became a literary triumph. Based on his achievement in this and other noted works, he received the Nobel Prize for literature in 1954.

Richard Wright, "Native Son" (1940)
Among the first widely successful novels by an African American, "Native Son" boldly described a racist society that was unfamiliar to most Americans. As literary critic Irving Howe said in his 1963 essay "Black Boys and Native Sons,""The day ‘Native Son’ appeared, American culture was changed forever. No matter how much qualifying the book might later need, it made impossible a repetition of the old lies."

Betty Smith, "A Tree Grows in Brooklyn" (1943)
"A Tree Grows in Brooklyn" is the account of a girl growing up in the tenements of turn-of-the-20th-century Brooklyn. An early socially conscious novel, the book examines poverty, alcoholism, gender roles, loss of innocence and the struggle to live the American Dream in an inner city neighborhood of Irish American immigrants. The book was enormously popular and became a film directed by Elia Kazan.

Benjamin A. Botkin, "A Treasury of American Folklore" (1944)
Benjamin Botkin headed the Library of Congress’s Archive of American Folksong (now the American Folklife Center) between 1943 and 1945 and previously served as national folklore editor of the Federal Writers’ Project (1938–39), a program of President Franklin Roosevelt’s New Deal during the Depression. Botkin was one of the New Deal folklorists who persuasively argued that folklore was relevant in the present and that it was not something that should be studied merely for its historical value. This book features illustrations by Andrew Wyeth, one of America’s foremost realist painters.

Gwendolyn Brooks, "A Street in Bronzeville" (1945)
"A Street in Bronzeville" was Brooks’s first book of poetry. It details, in stark terms, the oppression of blacks in a Chicago neighborhood. Critics hailed the book, and in 1950 Brooks became the first African American to win the Pulitzer Prize for poetry. She was also appointed as U.S. Poet Laureate by the Librarian of Congress in 1985.

Benjamin Spock, "The Common Sense Book of Baby and Child Care" (1946)
Dr. Spock’s guidebook turned common wisdom about child-rearing on its head. Spock argued that babies did not have to be on a rigid schedule, that children should be treated with a great deal of affection, and that parents should use their own common sense when making child-rearing decisions. Millions of parents worldwide have followed his advice.

Eugene O’Neill, "The Iceman Cometh" (1946)
Nobel Prize winner Eugene O’Neill’s play about anarchism, socialism and pipe dreams is one of his most-admired but least-performed works, probably because of its more than four-and-a-half-hour running time. Set in 1912 in the seedy Last Chance Saloon in New York City, the play depicts the bar’s drunk and delusional patrons bickering while awaiting the arrival of Hickey, a traveling salesman whose visits are the highlight of their hopeless lives. However, Hickey’s arrival throws them into turmoil when he arrives sober, wanting them to face their delusions.

Margaret Wise Brown, "Goodnight Moon" (1947)
This bedtime story has been a favorite of young people for generations, beloved as much for its rhyming story as for its carefully detailed illustrations by Clement Hurd. Millions have read it (and had it read to them). "Goodnight Moon" has been referred to as the perfect bedtime book.

Tennessee Williams, "A Streetcar Named Desire" (1947)
A landmark work, which won the 1948 Pulitzer Prize for Drama, "A Streetcar Named Desire" thrilled and shocked audiences with its melodramatic look at a clash of cultures. These cultures are embodied in the two main characters – Blanche DuBois, a fading Southern belle whose genteel pretensions thinly mask alcoholism and delusions of grandeur, and Stanley Kowalski, a representative of the industrial, urban working class. Marlon Brando’s portrayal of the brutish and sensual Stanley in both the original stage production and the film adaptation has become an icon of American culture.

Alfred C. Kinsey, "Sexual Behavior in the Human Male" (1948)
Alfred Kinsey created a firestorm when he published this volume on men in 1948 and a companion on women five years later. No one had ever reported on such taboo subjects before and no one had used scientific data in such detail to challenge the prevailing notions of sexual behavior. Kinsey’s openness regarding human sexuality was a harbinger of the 1960s sexual revolution in America.

J.D. Salinger, "The Catcher in the Rye" (1951)
Since his debut in 1951 as the narrator of "The Catcher in the Rye," 16-year-old Holden Caulfield has been synonymous with adolescent alienation and angst. The influential story concerns three days after Holden has been expelled from prep school. Confused and disillusioned, he wanders New York City searching for truth and rails against the phoniness of the adult world. Holden is the first great American antihero, and his attitudes influenced the Beat generation of the 1950s as well as the hippies of the 1960s. "The Catcher in the Rye" is one of the most translated, taught and reprinted books and has sold some 65 million copies.

Ralph Ellison, "Invisible Man" (1952)
Ralph Ellison’s "Invisible Man" is told by an unnamed narrator who views himself as someone many in society do not see, much less pay attention to. Ellison addresses what it means to be an African-American in a world hostile to the rights of a minority, on the cusp of the emerging civil rights movement that was to change society irrevocably.

E.B. White, "Charlotte’s Web" (1952)
According to Publishers Weekly, "Charlotte’s Web" is the best-selling paperback for children of all time. One reason may be that, although it was written for children, reading it is just as enjoyable for adults. The book is especially notable for the way it treats death as a natural and inevitable part of life in a way that is palatable for young people.

Ray Bradbury, "Fahrenheit 451" (1953)
"Fahrenheit 451" is Ray Bradbury’s disturbing vision of a future United States in which books are outlawed and burned. Even though interpretations of the novel have primarily focused on the historical role of book-burning as a means of censorship, Bradbury has said that the novel is about how television reduces knowledge to factoids and destroys interest in reading. The book inspired a 1966 film by Francois Truffaut and a subsequent BBC symphony. Its name comes from the minimum temperature at which paper catches fire by spontaneous combustion.

Allen Ginsberg, "Howl"(1956)
Allen Ginsberg’s poem "Howl" (first published as the title poem of a collection) established him as an important poet and the voice of the Beat Generation of the 1950s. Because of the boldness of the poem’s language and subject matter, it became the subject of an obscenity trial in San Francisco in which it was exonerated after witnesses testified to its redeeming social value. Ginsberg’s work had great influence on later generations of poets and on the youth culture of the 1960s.

Ayn Rand, "Atlas Shrugged" (1957)
Although mainstream critics reacted poorly to "Atlas Shrugged," it was a popular success. Set in what novelist and philosopher Rand called "the day after tomorrow," the book depicts a United States caught up in a crisis caused by a corrupt establishment of government regulators and business interests. The book’s negative view of government and its support of unimpeded capitalism as the highest moral objective have influenced libertarians and those who advocate a smaller government.

Dr. Seuss, "The Cat in the Hat" (1957)
Theodore Seuss Geisel was removed as editor of the campus humor magazine while a student at Dartmouth College after too much reveling with fellow students. In spite of this Prohibition-era setback to his writing career, he continued to contribute to the magazine pseudonymously, signing his work "Seuss." This is the first known use of his pseudonym, which became famous in children’s literature when it evolved into "Dr. Seuss.""The Cat in the Hat" is considered the most important book of his career. More than 200 million Dr. Seuss books have been sold around the world.

Jack Kerouac, "On the Road" (1957)
The defining novel of the 1950s Beat Generation (which Kerouac named), "On the Road" is a semiautobiographical tale of a bohemian cross-country adventure, narrated by character Sal Paradise. Kerouac’s odyssey has influenced artists such as Bob Dylan, Tom Waits and Hunter S. Thompson and films such as "Easy Rider.""On the Road" has achieved a mythic status in part because it portrays the restless energy and desire for freedom that makes people take off to see the world.

Harper Lee, "To Kill a Mockingbird" (1960)
This 1960 Pulitzer Prize winner was an immediate critical and financial success for its author, with more than 30 million copies in print to date. Harper Lee created one of the most enduring and heroic characters in all of American literature in Atticus Finch, the small-town lawyer who defended a wrongly accused black man. The book’s importance was recognized by the 1961 Washington Post reviewer: "A hundred pounds of sermons on tolerance, or an equal measure of invective deploring the lack of it, will weigh far less in the scale of enlightenment than a mere 18 ounces of new fiction bearing the title ‘To Kill a Mockingbird.’"

Joseph Heller, "Catch-22" (1961)
Joseph’s Heller’s "Catch-22," an irreverent World War II novel and a satiric treatment of military bureaucracy, has had such a penetrating effect that its title has become synonymous with "no-win situation." Heller’s novel is a black comedy, filled with orders from above that make no sense and a main character, Yossarian, who just wants to stay alive. He pleads insanity but is caught in the famous catch: "Anyone who wants to get out of combat duty isn't really crazy." The novel became a cult classic for its biting indictment of war.

Robert E. Heinlein, "Stranger in a Strange Land" (1961)
The first science fiction novel to become a bestseller, "Stranger in a Strange Land" is the story of Valentine Michael Smith, a human raised on Mars by Martians (his parents were on the first expedition to Mars and he was orphaned when the crew perished) who returns to Earth about 20 years later. Smith has psychic powers but complete ignorance of human mores. The book is considered a classic in its genre.

Ezra Jack Keats, "The Snowy Day" (1962)
Ezra Jack Keats’s "The Snowy Day" was the first full-color picture book with an African-American as the main character. The book changed the field of children’s literature forever, and Keats was recognized by winning the 1963 Caldecott Medal (the most prestigious American award for children’s books) for his landmark effort.

Maurice Sendak, "Where the Wild Things Are" (1963)
"It is my involvement with this inescapable fact of childhood – the awful vulnerability of children and their struggle to make themselves King of All Wild Things – that gives my work whatever truth and passion it may have," Maurice Sendak said in his Caldecott Medal acceptance speech on June 30, 1964. Sendak called Max, the hero of "Where the Wild Things Are," his "bravest and therefore my dearest creation." Max, who is sent to his room with nothing to eat, sails to where the wild things are and becomes their king.

James Baldwin, "The Fire Next Time" (1963)
One of the most important books ever published on race relations, Baldwin’s two-essay work comprises a letter written to his nephew on the role of race in United States history and a discussion of how religion and race influence each other. Baldwin’s angry prose is balanced by his overall belief that love and understanding can overcome strife.

Betty Friedan, "The Feminine Mystique" (1963)
By debunking the "feminine mystique" that middle-class women were happy and fulfilled as housewives and mothers, Betty Friedan inspired the second-wave feminist movement of the 1960s and 1970s. Friedan advocates that women need meaningful work and encourages them to avoid the trap of the "feminine mystique" by pursuing education and careers. By 2000 this touchstone of the women’s movement had sold 3 million copies and was translated into several languages.

Malcolm X and Alex Haley, "The Autobiography of Malcolm X" (1965)
When "The Autobiography of Malcolm X" (born Malcolm Little) was published, The New York Times called it a "brilliant, painful, important book," and it has become a classic American autobiography. Written in collaboration with Alex Haley (author of "Roots"), the book expressed for many African-Americans what the mainstream civil rights movement did not: their anger and frustration with the intractability of racial injustice.

Ralph Nader, "Unsafe at Any Speed" (1965)
Nader’s book was a landmark in the field of auto safety and made him a household name. It detailed how automakers resisted putting safety features, such as seat belts, in their cars and resulted in the federal government’s taking a lead role in the area of auto safety.

Rachel Carson, "Silent Spring" (1962)
A marine biologist and writer, Rachel Carson is considered a founder of the contemporary environmental protection movement. She drew attention to the adverse effects of pesticides, especially that of DDT on bird populations, in her book "Silent Spring," a 1963 National Book Association Nonfiction Finalist. At a time when technological solutions were the norm, she pointed out that man-made poisons introduced into natural systems can harm not only nature, but also humans. Her book met with great success and because of heightened public awareness, DDT was banned.

Truman Capote, "In Cold Blood" (1966)
A 300-word article in The New York Times about a murder led Truman Capote to travel with his childhood friend Harper Lee to Holcomb, Kan., to research his nonfiction novel, which is considered one of the greatest true-crime books ever written. Capote said the novel was an attempt to establish a serious new literary form, the "nonfiction novel," a narrative form that employed all the techniques of fictional art but was nevertheless entirely factual. The book was an instant success and was made into a film.

James D. Watson, "The Double Helix" (1968)
James D. Watson’s personal account of the discovery of DNA changed the way Americans regarded the genre of the scientific memoir and set a new standard for first-person accounts. Dealing with personalities, controversies and conflicts, the book also changed the way the public thought about how science and scientists work, showing that scientific enterprise can at times be a messy and cutthroat business.

Dee Brown, "Bury My Heart at Wounded Knee" (1970)
Until librarian Dee Brown wrote his history of Native Americans in the West, few Americans knew the details of the unjust treatment of Indians. Brown scoured both well-known and little-known sources for his documentary on the massacres, broken promises and other atrocities suffered by Indians. The book has never gone out of print and has sold more than 4 million copies.

Boston Women’s Health Book Collective, "Our Bodies, Ourselves" (1971)
In the early 1970s a dozen Boston feminists collaborated in this groundbreaking publication that presented accurate information on women’s health and sexuality based on their own experiences. Advocating improved doctor-patient communication and shared decision-making, "Our Bodies, Ourselves" explored ways for women to take charge of their own health issues and to work for political and cultural change that would ameliorate women’s lives.

Carl Sagan, "Cosmos" (1980)
Carl Sagan’s classic, bestselling science book accompanied his avidly followed television series, "Cosmos." In an accessible way, Sagan covered a broad range of scientific topics and made the history and excitement of science understandable and enjoyable for Americans and then for an international audience. The book offers a glimpse of Sagan’s personal vision of what it means to be human.

Toni Morrison, "Beloved" (1987)
Toni Morrison won the 1988 Pulitzer Prize for fiction for her post-Civil War novel based on the true story of an escaped slave and the tragic consequences when a posse comes to reclaim her. The author won the Nobel Prize for literature in 1993, and in 2006 The New York Times named "Beloved""the best work of American fiction of the past 25 years."

Randy Shilts, "And the Band Played On" (1987)
"And the Band Played On" is the story of how the AIDS epidemic spread and how the government’s initial indifference to the disease allowed its spread and gave urgency to devoting government resources to fighting the virus. Shilts’s investigation has been compared to other works that led to increased efforts toward public safety, such as Upton Sinclair’s "The Jungle."

César Chávez, "The Words of César Chávez" (2002)
César Chávez, founder of the United Farm Workers, was as impassioned as he was undeterred in his quest for better working conditions for farm workers. He was a natural communicator whose speeches and writings led to many improvements in wages and working conditions.

Virginia Woolf, "The Common Reader", in Touches of High-Tech ,

$
0
0


Virginia Woolf's writing desk, painted by her nephew Quentin Bell.


The David M. Rubenstein Rare Book & Manuscript Library at Duke...
TODAY.DUKE.EDU




"I have sometimes dreamt that when the Day of Judgement dawns and the great conquerors and lawyers and statesmen come to receive their rewards-their crowns, their laurels, their names carved indelibly upon imperishable marble-the Almighty will turn to Peter and will say, not without a certain envy when he sees us coming with our books under out arms, 'Look, these need no reward. We have nothing to give them here. They have loved reading'"
--from "How Should One Read a Book?" The Common Reader, byVirginia Woolf
相片:"I have sometimes dreamt that when the Day of Judgement dawns and the great conquerors and lawyers and statesmen come to receive their rewards-their crowns, their laurels, their names carved indelibly upon imperishable marble-the Almighty will turn to Peter and will say, not without a certain envy when he sees us coming with our books under out arms, 'Look, these need no reward. We have nothing to give them here. They have loved reading'" --from "How Should One Read a Book?" The Common Reader, by Virginia Woolf


"Communication is health; Communication is truth; communication is happiness. To share is our duty; to go down boldly and bring to light those hidden thoughts which are the most diseased; to conceal nothing; to pretend nothing; if we are ignorant to say so; if we love our friends to let them know it.”
― from "The Common Reader"


"Communication is health; Communication is truth; communication is happiness. To share is our duty; to go down boldly and bring to light those hidden thoughts which are the most diseased; to conceal nothing; to pretend nothing; if we are ignorant to say so; if we love our friends to let them know it.”  ― from "The Common Reader"
Theater

Virginia Woolf, in Touches of High-Tech




Published: November 7, 2008

VIRGINIA WOOLF has never been much of a stage presence. She was an avid London theatergoer and larked around at the Bloomsbury gang’s theatrical evenings, but with the exception of the extended comedic skit “Freshwater” she left no formal plays. Attempts to adapt her fiction to the footlights — the stream of consciousness, internalized narratives, a handkerchief’s tragic drop on a summer day — have seldom been successful.
Skip to next paragraph

A scene from Katie Mitchell’s “Waves,” left, from the National Theater. Below,

Virginia Woolf, who wrote the novel on which the play is based.

But in 2006, “Waves,” the English director Katie Mitchell’s adaptation of Woolf’s novel “The Waves,” played to sold-out audiences and rapturous reviews when it was produced at the National Theater in London, where Ms. Mitchell, 44, is associate director. Now her production will help celebrate the 10th anniversary of Lincoln Center’s New Visions series, which this year is subtitled “The Literary Muse.” The work arrives fresh from a tour in Britain. “Waves,” a cerebral story of six friends moving from childhood to adulthood to life’s final chapters by way of their disparate, often conflicting, internal impressions, will run from Friday to Nov. 22 at the Duke on 42nd Street.
That run happens to be about a century after the Bloomsbury group came together. If this juncture seems apt for bringing Woolf to the stage, the timing was partly luck. Ms. Mitchell’s solution to transforming the nearly 300-page modernist novel into a commensurate theater piece was a long time coming. Speaking of “The Waves” from her home in London, she said: “I first encountered it at 19, at Oxford, and I probably didn’t understand huge swaths of it. Now I have a stronger sense of what Woolf was aiming for and how extremely radical it was, but though I flirted with adapting it for 20 years, I couldn’t imagine how. I couldn’t find a method fine enough for capturing a work that happens inside people’s heads.”
In Britain Ms. Mitchell has been widely praised and widely criticized for the departures she takes from traditional theater, opera and literary adaptation. Her work has been seen in New York only once before, at Lincoln Center’s Harold Pinter festival in 2001. Known for paring plot to an intense psychological realism that nevertheless implicates politics, social relations and history, Ms. Mitchell has long rejected the conventions of stage artifice in favor of the most minute observation of everyday behavior and gestures. She studied theater in Eastern Europe early in her career and pays close attention to everything from the particular tension expressed by a dancing couple to the subjective toll of war.
Advanced video and sound technology eventually enabled her to evoke Woolf’s story. Working with Leo Warner of the acclaimed video design company Fifty Nine Productions, Ms. Mitchell has constructed what Jane Moss, Lincoln Center’s vice president for programming, calls “a Swiss watch of a production that combines the old-fashioned qualities of a radio play with the most recent technology to convey the fluid, fractured way the brain works.”
Moving around a bare space resembling a sound studio, the cast’s eight actors, dressed in black, act out and record Woolf’s group character study, as reimagined by Ms. Mitchell. They have trained simultaneously to enact, film and edit a story of entwined fates reaching from the 1890s to the 1930s. The action is projected in often extraordinarily revealing close-ups on a large screen suspended above the stage, using a system called Catalyst. One moment the screen shows a face; another an arm clad in a period sleeve to indicate the era at hand; then suddenly a vessel filling with blood or flowers — and, of course, there are waves.
“We smashed a lot of fishbowls and almost caused the electricity to explode when we were first figuring out how to do this,” Ms. Mitchell said with a laugh, “but look how much money we saved on costumes” — referring to the projected images — “while finding a wonderful way of jumping time.”
Her goal is always, she said, to “sharpen and focus” events internal and external, which is why she tried to winnow Woolf’s work down to “its autobiographical genesis,” the premature death of Woolf’s brother Thoby Stephen. That event, in Ms. Mitchell’s view, affected those around him more than they would, or could, ever expressly say. Historical conditions are hinted at as the play unfolds, but thought and emotion are at its center.
With her newfound tools and techniques, Ms. Mitchell said, she worked hard to dispel the “fey, sweet, rosy and charming” image of Woolf that she feels filmmakers especially have promoted. “What I read in ‘The Waves’ is actually stark, merciless and quite terrifying,” she said. “There are lines of almost unbearable sadness about mortality, about death, about identity and loneliness.”
Ms. Mitchell is aware that this American venture could invite comparisons with multimedia productions by the Wooster Group and many others.
“My great fear is of it being called passé and derivative,” she said. “I know that everything I do has been done in different ways by different people since at least the ’60s, and I want to celebrate that. But what is completely different about this is what it requires of my actors, and the new Catalyst system that was literally created for us, which uses incredibly sophisticated technology.”
“It’s about looking formally at how to communicate in the theater today,” she added. “It isn’t enough to just rely on a well-made narrative, no matter how nice the packaging. It’s wanting to see how we experience ourselves.”

The Millionaire and the Bard, Henry Clay Folger

$
0
0









Two of the most important books in the English language were printed four centuries ago: the King James Bible and William Shakespeare's first folio. Today, that first collection of Shakespeare's plays would fetch a king's ransom; and in the early 1900s, one man was willing to spend his entire fortune to own as many of them as he could. His name was Henry Folger.

Henry Clay Folger - Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Henry_Clay_Folger
Henry Clay Folger, Jr. (June 18, 1857 – June 11, 1930) was president and later chairman of Standard Oil of New York, a collector of Shakespeareana, and ...


A Fortune In Folios: One Man's Hunt For Shakespeare's First Editions
MAY 14, 2015 3:24 AM ET
NPR STAFF


Listen to the Story


Morning Edition
7:17
Playlist
Download
Embed
Transcript



The Folger Shakespeare Library in Washington, D.C., still has all 82 of the William Shakespeare first folios Henry Folger collected.Courtesy of Folger Shakespeare Library

Two of the most important books in the English language were printed four centuries ago: the King James Bible and William Shakespeare's first folio. Today, that first collection of Shakespeare's plays would fetch a king's ransom; and in the early 1900s, one man was willing to spend his entire fortune to own as many of them as he could. His name was Henry Folger and he was a successful businessman who worked his way to the top of Standard Oil. Folger managed to buy 82 first folios out of only a couple of hundred that survived from the original 1623 printing.



The Millionaire and the Bard

Henry Folger's Obsessive Hunt for Shakespeare's First Folio

by Andrea E. Mays


Hardcover, 350 pagespurchase



More on this book:
NPR reviews, interviews and more

In the new book The Millionaire and the Bard, Andrea Mays chronicles Folger's obsessive passion. Mays tells NPR's Renee Montagne that part of what makes the folios special is that, in Shakespeare's time, big, elegant books took months to print, so the task was often reserved for religious works, histories and Latin and Greek classics — not plays. But today the value of Shakespeare's first folio is immeasurable.

"Had this book not been published," Mays says, "about half of the plays that we know would never have been known to us, including Macbeth, including [The] Merry Wives of Windsor ... The Tempest. There would have been no Caliban, no Prospero had this book not been published."

Interview Highlights

On why Shakespeare's plays were printed into folios

John Heminges and Henry Condell were fellow actors with Shakespeare — Shakespeare was an actor as well as a playwright — and as a tribute to him they collected these plays, because the plays that were published were often published by pirates who didn't have authority. There were no copyright laws until 1709 and other theater companies would send, for example, someone to the audience to write down the words of the play and then they would put that together and they would publish it.

So Hamlet is published twice this way. If you look at the "To be or not to be" soliloquy in each of those versions, it's quite different than what we remember from high school because the version we have in high school is the one that Heminges and Condell edited and said, "OK, no, it's not this way; it's that way."
i


Henry Folger began planning a library to hold his Shakespeare collection toward the end of his life, but didn't live to see its doors open.Courtesy of Folger Shakespeare Library

On how Folger became interested in Shakespeare and collecting the folios

He was born in Brooklyn, mid-19th century, to not a wealthy family. He went to prep school in Brooklyn, then he went to Amherst. And while he was at Amherst, he listens to a lecture by [Ralph Waldo] Emerson then starts looking up Emerson's speeches and finds this speech about Shakespeare. ... He'd been reading the plays already, maybe this is worth more study. When he goes to work for [Standard Oil], he decides to go to an auction house and he knows that some Shakespeareana is for sale and he ends up buying a fourth folio, hammered down to him at $107.50. Not a first folio, but a fourth folio, which is what he could afford. And in fact he couldn't even afford it; he had to use sort of layaway.

On how Folger felt about the folios

These were not fetish objects for him. He read them; he questioned the text; he found them very personal. They taught you about life and love and jealousy and resentment and competition and joy and marriage, and he saw all of that in the plays.



"These were not fetish objects for him. He read them; he questioned the text; he found them very personal."

- Andrea Mays

On Folger's four-year effort to buy one first folio, which he ended up paying $48,000 — or almost a year's salary — for

Coningsby Sibthorp, a great English name, owned this copy. He brought it into an antique book dealer, either for appraisal or for renovation, and the dealer made Folger aware that this was the owner of this copy. And Folger said, "Call him, see if you can find out if he would be willing to sell the copy." And over four years, the Englishman said, "No, no, no. Um, maybe if you offered me this much. Contact me once a year around Christmastime and I'll let you know if I've changed my mind."

Related NPR Stories


BOOK REVIEWS
'Millionaire' Tracks One Man's Fruitful Obsession With The Bard Of Avon


AUTHOR INTERVIEWS
From Harpies To Heroines: How Shakespeare's Women Evolved


Shakespeare Folio Found In Small-Town French Library

Folger was thinking, "I'm American. If I just offer him enough money he'll sell." But on many occasions, Folger pushed a little too hard and the Englishman took this as an affront and he said, "No, try again in a year." And you know, at long last at the end he ended up paying almost twice what he originally thought he was going to pay for this copy.

On where Folger kept his collection, given that, despite his great wealth, he never built himself a house

He lived in a rented town house in Brooklyn. They had rented furniture. ... He probably thumbed through everything that he bought and then took it to the basement, wrapped it in paper, put it into a Standard Oil case and then shipped it off to a warehouse in Brooklyn or Manhattan. And he had warehouse rooms for 30 years that he rented where this stuff was all stored away until the [Folger Shakespeare Library] was built [in Washington, D.C.]

經典人文學刊庫

$
0
0

President Harry Truman;《杜魯門總統任內錄》

$
0
0

杜魯門總統任內錄》(The Truman Presidency By CABELL PHILLIPS,1966),李宜培譯,香港:今日世界,1970。此書錯字不少,不過參考信息難能可貴。
*****
  1. Truman Lauds Palace Guard . - Google News

    news.google.com/newspapers?nid=1817&dat=19520322&id...
    WASHINGTON Tho men who pack tho— most weight with President Truman arc his aides and secretaries the palace guard — —supposed to do the routine ...本書71頁起,它其實包括些部長等,每周開會一次,無紀錄。


*****

The Truman Presidency, by Cabell Phillips; The Truman Administration: A Documentary History. Edited by Barton J. Bernstein and A

The Man from Missouri
The Truman Presidency.
by Cabell Phillips.
Macmillan. 463 pp. $7.95.
The Truman Administration: A Documentary History.
by Barton J. Bernstein and Allen J. Matusow.
Harper & Row. 518 pp. $10.00.
Cabell Phillips is an honest researcher. He reports wryly that he journeyed out to the Harry S. Truman Memorial Library in Independence with high hopes of finding Truman’s working papers on major White House decisions and policies, only to discover that these were considered to be the former President’s personal papers and were still restricted. (Now Mr. Phillips is down on all Presidential libraries and wants the records centered in Washington.) The author is equally candid about his use of the immense amount of books, articles, and official documents on the Truman administration. “In most cases I found the supply overwhelming, so I chose a manageable few and trusted to luck that I had made the right selections.”
Happily, Mr. Phillips has relied mainly on his journalistic skills, Washington memories and contacts, and his long experience in the New York Times Washington Bureau to produce a warm and evocative account of Truman’s Presidential years. With some of the freshness and nostalgia of Only Yesterday and similar books he helps us relive the sad, jarring days after Roosevelt’s death, the sordid efforts to decontrol prices, the fierce postwar strikes, the seesaw struggle in Korea, and of course the 1948 election campaign, the Hiss case, and the struggle with McCarthy.
But Mr. Phillips wanted to do more than report these events; like the rest of us, he is curious as to how Harry Truman, who had failed in so many ventures in life and entered office with so little promise of greatness, could rate so high today in the historians’ pantheon. Although he does not develop Truman’s mediocre achievements of earlier years in the same graphic detail as Alfred Steinberg in The Man From Missouri, Mr. Phillips does raise the issue as to how, in his words, “so ordinary a man [could] adapt so well to the most exacting political office in the world.” But he never really answers this key question—a question so vital in a day when Presidential quality and character are so crucial to the nation and the world. Rather, he contents himself with citing at the end an arresting but nebulous column by Eric Sevareid on Truman’s character—his simplicity, honesty, and self-discipline.
So Mr. Phillips leaves it up to the reader to solve the mystery of Harry Truman. Unhappily, although the interplay between Presidential personality and Presidential office has long fascinated American historians and political scientists, we have come up with little hard theory or solid generalization as to the nature of the relation—especially the effect of the office on the man. Hence, there is a tendency to retreat to simplistic ideas—even to a kind of Gabriel-over-the-White-House theory that crisis produces greatness, that strong Presidents are forged in the crucible of high-pressure decision-making. (The trouble is that pressure can disintegrate character as well as harden it.)
My own hunch—without having worked in the Truman documents—is that Truman benefited more than he or his historians have recognized from the organization and power and tradition of the Presidential system he inherited. Under the pressure of war, Roosevelt had created a truly executive office that attracted talent and knew what to do with it. It may even be possible that Truman’s chairmanship of the wartime investigating committee brought him close enough to the problems and perspectives of the Presidency, even while he was probing some of the administration’s failures, to make the war years a kind of Presidential apprenticeship for him.
_____________

Some support for such a thesis can be found in Phillips’s book. He brings out convincingly the contrast between Truman’s creativity, firmness, and sophistication in foreign policy-making, and his wobblings and relative ineffectiveness in domestic. Not that his general domestic program was faulty; Truman was, after all, continuing strongly in the New Deal tradition. But he seemed to lose control not only of Congress but of his own administration. We remember the Marshall Plan and the other great ventures. But the same President fumbled again and again in dealing with domestic matters to which, as a New Deal senator and Midwestern politician, he should have brought a practiced hand and even finesse.
Two examples of this lack of skill: in 1946, James Patton, head of the Farmers Union, wrote the President demanding that he fire Secretary of Agriculture Clinton Anderson for undermining price controls. Here is Truman’s answer: “I read your letter . . . with a great deal of interest and I regret very much that you are at odds with my able Secretary of Agriculture. You know, as far as Cabinet positions are concerned, they belong to the President and, as long as Secretary Anderson is satisfactory to me, I’ll keep him. I think you are entirely misinformed on his attitude. I think he is as able a Secretary of Agriculture as the country has ever had and I intend to keep him.” This is an honest answer, quite probably written by Truman himself, and one that breathes his courage and independence. But it was not one that would persuade Truman’s critics; it was not convincing on policy. A second and far more serious instance: during the railroad strike of 1946, an angry and frustrated President went before Congress to demand that he be authorized to “draft into the Armed Forces of the United States workers who are on strike against their Government.” He had brushed aside questions and warnings from his staff and Cabinet. He even wrote a speech in which he planned to call on veterans “to come with me and eliminate the Lewises, Whitneys, and the Johnstons; the Communist Bridges and the Russian Senators and Representatives and really make this a government of, by, and for the people.” More cautious White House hands got him to tone down the speech, but Truman’s final public position was still both dangerous and feeble as policy.
How explain the strange convolutions in domestic policy in the earlier years? In large part, I think, by the difference between Truman’s advisers in foreign and domestic policy. Within a few weeks of his accession, he jettisoned almost all of Roosevelt’s domestic brain trust and top officials. But in foreign policy—where the President doubtless felt less knowledgeable and more dependent on the White House inheritance—he kept on men of the stamp of Stimson, Harriman, Marshall, Acheson, Kennan, and Bohlen.
_____________

Support for such a view is found in Bernstein’s and Matusow’s documentary history of the Truman administration. Not only have the editors produced a model for this kind of collection, with its penetrating editorial prefaces, imaginative selections, handsome format, and remarkable range of materials (to mention a few: opposition speeches in Congress, excerpts from congressional hearings, the Hiss-Chambers confrontation, Congressman John F. Kennedy’s anti-Truman statement on China policy). Even more important, because of its emphasis on decision and policy, the book enables us to make judgments about Truman and his administration. And one cannot help being struck by the contrast in the early Presidential years between the prudence, continuity, and creativity that marked foreign policy, and the hasty judgments, improvisation, and fumbling in domestic policy.
After the 1948 election, Truman built up a corps of able men in domestic policy too. As we look back on the period we can conclude, I think, that Truman’s greatness or near-greatness was an amalgam of his own sturdy self-assertiveness, his awareness from reading American history of the indispensability of a strong Presidency, his role as both leader and agent of the New Deal coalition, and—perhaps most important of all—the quality of the men continuing in the historic office around him. The exact relation of these forces may continue to elude us; but surely it is out of such materials as these, in varying combinations, that Presidential greatness is fashioned.

****
It was President Harry Truman, just after the second world war, who first signed laws allowing women to become permanent members of the armed forces. By 2025, estimates say, one in every four military personnel will be female. America’s move comes alongside a shift towards integrating armed forces across the worldhttp://econ.st/1QMNz47



SPOTTING the woman amid recruits preparing to hurl themselves from a plane at Fort Benning can be difficult. She has cropped hair, a baggy uniform and looks...
ECON.ST


6 Books Bill Gates Recommended 《周一良讀書題記》 、《且借紙遁:讀書日記選,1994-2011》

$
0
0
兩本文人的書的題記 (購置緣由幾行)、日記 (每本有幾段摘錄和感想)。

周一良讀書題記  北京:海豚出版社,2012

葛兆先,且借紙遁:讀書日記選,1994-2011,廣西師範大學,2014



6 Books Bill Gates Recommended for TED 2015
The business magnate shares the best business book he's ever read


Bill Gates, long an avid reader, attended the TED conference again this year and continued his tradition of recommending books to fellow attendees.



1. Business Adventures, by John Brooks

Warren Buffett recommended this book to me back in 1991, and it’s still the best business book I’ve ever read. Even though Brooks wrote more than four decades ago, he offers sharp insights into timeless fundamentals of business, like the challenge of building a large organization, hiring people with the right skills, and listening to customers’ feedback. (Here’s a free download of one of my favorite chapters, “Xerox Xerox Xerox Xerox.”)


2.  The Bully Pulpit, by Doris Kearns Goodwin

Historian Doris Kearns Goodwin studies the lives of America’s 26th and 27th presidents to examine a question that fascinates me: How does social change happen? Can it be driven solely by an inspirational leader, or do other factors have to lay the groundwork first? In Roosevelt’s case, it was the latter. Roosevelt’s famous soft speaking and big stick were not effective in driving progressive reforms until journalists at McClure’s and other publications rallied public support.

3. On Immunity, by Eula Biss

The eloquent essayist Eula Biss uses the tools of literary analysis, philosophy, and science to examine the speedy, inaccurate rumors about childhood vaccines that have proliferated among well-meaning American parents. Biss took up this topic not for academic reasons but because of her new role as a mom. This beautifully written book would be a great gift for any new parent.


4. Making the Modern World, by Vaclav Smil

The historian Vaclav Smil is probably my favorite living author, and I read everything he writes. In this book, Smil examines the materials we use to meet the demands of modern life, like cement, iron, aluminum, plastic, and paper. The book is full of staggering statistics. For example, China used more cement in just three years than the U.S. used in the entire 20th century! Above all, I love to read Smil because he resists hype. He’s an original thinker who never gives simple answers to complex questions.


5.  How Asia Works, by Joe Studwell

Business journalist Joe Studwell produces compelling answers to two of the greatest questions in development economics: How did countries like Japan, Taiwan, South Korea, and China achieve sustained, high growth? And why have so few other countries managed to do so? His conclusion: All the countries that become development success stories (1) create conditions for small farmers to thrive, (2) use the proceeds from agricultural surpluses to build a manufacturing base that is tooled from the start to produce exports, and (3) nurture both these sectors with financial institutions closely controlled by the government.

6. How to Lie with Statistics, by Darrell Huff


I picked this one up after seeing it on a Wall Street Journal list of good books for investors. It was first published in 1954, but it doesn’t feel dated (aside from a few anachronistic examples—it has been a long time since bread cost 5 cents a loaf in the United States). In fact, I’d say it’s more relevant than ever. One chapter shows you how visuals can be used to exaggerate trends and give distorted comparisons. It’s a timely reminder, given how often infographics show up in your Facebook and Twitter feeds these days. A great introduction to the use of statistics, and a great refresher for anyone who’s already well versed in it.

Emily Dickinson

$
0
0
"A word is dead when it is said. Some say. I say it just, begins to live that day." -- Emily Dickinson


"I must go in, for the fog is rising."
Emily Dickinson --The fog is rising. 
Emily Dickinson (December 10, 1830 – May 15, 1886), Her last words were: "I must go in, for the fog is rising."】

Emily Dickinson也常採用,如:

Mine – by the right of White Election!
Mine – by the Royal Seal!
Mine – by the Sign in the Scarlet prison
Bars – cannot conceal!
【HC:我不知其意,或許有人願意說明。】
****


"我至少在三層意思上引用了卡

瓦爾康蒂描寫輕感的例子。首先是語言的輕鬆化;使意義通過

看上去似乎毫無重量的語言肌質表達出來,致使意義本身也具

有同樣淡化的濃度。諸位自己可以找到這類的例子。例如艾米

莉·狄根森( Emily Dickinson)就可以提供許多:



一個花托,一片花瓣和一根刺針,

在一個普通的夏日的清晨——

長頸瓶上掛滿露珠一一兩隻蜜蜂——

一息微風——輕輕搖曳的樹林——

還有我,是一朵玫瑰!


***
作者是我?
出版--不啻出賣心靈
02/22/2007

艾蜜莉的詩,多數隱晦難解,因為她往往將具象與抽象互易,推到極限,發揮得淋灕盡致。而且還常常特意偏離「正常」文法,使得我們一般非英語原生族原本就很難看懂的英詩,更形難上加難。


艾蜜莉寫了近1800首詩,可是終其一生卻出版了大約七首。下面這首詩可以一窺她對出版一事的看法。

Emily Dickinson
#709

Publication -- is the Auction
Of the Mind of Man --
Poverty -- be justifying
For so foul a thing

Possibly -- but We -- would rather
From Our Garret go
White -- Unto the White Creator --
Than invest -- Our Snow --

Thought belong to Him who gave it --
Then -- to Him Who bear
Its Corporeal illustration -- Sell
The Royal Air --

In the Parcel -- Be the Merchant
Of the Heavenly Grace --
But reduce no Human Spirit
To Disgrace of Price --

這一首詩,先不論其意象之豐,乍看又是一首文法上的難詩,不過透過重組成「白話散文」,似乎可以看出幾分端倪,也顯示起碼在這首詩中,艾蜜莉還是恪遵了文法規則的:

Publication is the auction of the mind of man,
poverty possibly be justifying for so foul a thing.

But we would rather go white from our garret
unto the white creator than invest our snow.

(May) Thought belong to Him who gave it,
then belong to Him who bear its corporeal illustration.

Sell the royal air in the parcel;
Be the merchant of the heavenly grace.
But reduce no human spirit to disgrace of price.

以下試就原詩譯成中文,韻腳就先不管了:

出版 -- 不啻拍賣
人的心靈所有 --
貧瘠 -- 因此或許
正合如此不堪

之事 -- 然而我們 -- 寧可
從我們的閣樓,迎向
雪白 -- 向那白色的造主
卻不出賣 -- 我們的雪花 --

讓思維歸於那賜下思維者 --
然後 -- 再歸於那具現
思維肉身形貌者 -- 去販售
那尊貴的氣息吧 --

整批包裝地賣 -- 去做買賣人吧
買賣那神聖的恩賜 --
但請不要,貶損人的靈性
蒙受標價污辱 --


*****2005.6.4
小讀者注譯 H Bloom一段評說和Emily Dickinson 一首(並附瑞麟翻譯)

(我(hc)將小讀者主導的集合之)
「意識型態對於欣賞和理解反諷(irony)的能力是一大斲傷,意識形態膚淺的時候危害尤烈,因此我要提的第五個原則便是「重視反諷」。想想哈姆雷特無盡的反諷,他說的話幾乎都另有所指,甚至常與他的話截然相反。但是提到這項原則,我心裡頗感沮喪,因為現在已經不可能教人懂得反諷,正如不可能教他獨處一樣。然而,失去了反諷就是閱讀之死,也是泯滅了人性中被教化的部份。 

我踩過一段又一段的甲板
小心緩步前進
星斗當空我感覺
海水中我的雙足。

我只知道下一步
便與死亡一寸之遙──
這讓我腳步蹣跚
有人說那是經驗。

I stepped from Plank to Plank
A Slow and cautious way
The Stars about my Head I felt
About my Feet the Sea. 

I knew not but the next
Would be my final inch -
This gave me that precarious Gait
Some call Experience. 
男女走路的方式有別,但除非是經過軍事操練,每個人的步態都不大一樣。狄金遜(Emily Dickinson)擅寫危顫不穩的壯麗,但是我們若對反諷無所感,便無法窺得其堂奧。她走在唯一能走的路上,走過「一段又一段的甲板」,說來諷刺,她的戒慎恐懼卻與豪放反叛並列,她覺得「星斗當空」,而雙足卻已浸在海水中。她不知道再走一步是否就「與死亡一寸之遙」,因而「腳步蹣跚」,她只說「有人」稱之為經驗。狄金遜讀過愛默生的散文〈經驗〉(Experience),這是一篇與蒙田(Montaigne)的〈論經驗〉(Of Experience)異曲同工的登峰之作,而她的反諷可說是回應了愛默生文章的開頭:「我們在哪裡找到了自己?在一連串我們並不知道極限何在、也不相信有極限的事物裡。」對狄金遜而言,極限就是不知道下一步是不是就到了底。「如果我們之中能有人知道自己在做什麼,或是在往何處去,甚至何時是在自以為是!」愛默生接下來的思緒在氣味上,或用狄金遜的話,在步態上,與她有所不同。在愛默生的經驗範疇裡,「萬物流動閃耀」,他那愉快的反諷不同狄金遜戒慎恐懼的反諷。但兩者都不是意識型態,而他們也仍然在其反諷的敵對力量中繼續存活著。」(郭強生譯) 
---
小讀者 留言:
Plank: 甲板? 走在甲板上怎會在海水裡? ===> 橋板
I felt About my Feet the Sea: 我感覺"海水中"我的雙足? ===> 頂上掛星, 足下臨海, 但頭未沾星, 足亦未浸海. 除非是海上"浮木", 河中跨板, 或足可沾水. 
precarious: 蹣跚? ===> 顫顫危危, 如臨深淵, 危哉殆哉... 
感覺上很像走危危吊橋... 
----
小讀者 留言:
Women and men can walk differently, but unless we are regimented we all tend to walk somewhat individually. Dickinson, master of the precarious Sublime, can hardly be apprehended if we are dead to her ironies. She is walking the only path available, "from Plank to Plank," but her slow caution ironically juxtaposes with a titanism in which she feels "The Stars about my Head," though her feet very nearly are in the sea. Not knowing whether the next step will be her "final inch" gives her "that precarious Gait" she will not name, except to tell us that "some call it Experience . She had read Emerson''''s essay "Experience," a culmination much in the way "Of Experience" was for his master Montaigne, and her irony is an amiable response to Emerson''''s opening: "Where do we find ourselves? In a series of which we do not know the extremes, and believe that it has none." The extreme, for Dickinson, is the not knowing whether the next step is the final inch...

----

but her slow caution ironically juxtaposes with a titanism in which she feels "The Stars about my Head," though her feet very nearly are in the sea. 

Dickinson''s ironic juxtaposition of precarious and sublime: 

- slow caution, the seas about my feet, uncertain/unknown last inch==> precarious
極低極險 (one extreme of the series)

vs

- titanism, the stars about my head==> sublime
極高極崇 (the other extreme of the series) 

就是在這向天抗爭的不確定經驗中, 狄金遜 (人類) 達到雖險卻崇的境地...

Titanism: The spirit of revolt against an established order; rebelliousness.

Spiritual Titanism: an extreme form of humanism in which human beings take on divine attributes and prerogatives. 
----
Emerson's "Experience": 

WHERE do we find ourselves? In a series of which we do not know the extremes, and believe that it has none. We wake and find ourselves on a stair; there are stairs below us, which we seem to have ascended; there are stairs above us, many a one, which go upward and out of sight... 
--
Montaigne's "OF EXPERIENCE"

There is no desire more natural than that of knowledge. We try all ways that can lead us to it; where reason is wanting, we therein employ
experience, which is a means much more weak and cheap; but truth is so great a thing that we ought not to disdain any mediation that will guide us to it. Reason has so many forms that we know not to which to take; experience has no fewer... 

------
男女步態往往有別, 但除非把我們編成隊伍, 嚴格統制, 走起路來人人多少各有其態。狄金遜, 這位最能掌握顫危而高崇境地的大師, 我們若對她筆下的反諷無所知感, 就完全不能體會她的意趣。她走在別無選擇的惟一路徑上, 「一條又一條跨板」地走去, 可是她這分遲疑小心, 卻又反諷地和一種與天地同大 (爭輝?) 的意識並置, 在其中她感到「星星就在我的頭際」, 雖然她的腳幾乎就要陷入海中。不知道下一步是否就是她的「末步」, 使她取得了「那種顫危不穩的步態」, 她卻不明言這種態勢, 只告訴我們「有人稱此為經驗」。她讀過愛默生的論「經驗」一文, 此文(問: 還是經驗?) 對愛默生來說, 乃是最高境界, 正如蒙田的「經驗談」之於蒙田, 這位他所崇效的前輩大師。而她的反諷, 則是一種聲氣相通的回應,答復了愛默生開篇之問:「我們在哪裡找見自己? 在一步步系列經歷之中──我們不知道這系列的兩極何在,也深信它根本沒有極處。」而極處, 對狄金遜來說,卻正是下一步或許就是末步的那種不可知狀。 


****
I stepped from Plank to Plank
A Slow and cautious way
The Stars about my Head I felt
About my Feet the Sea.
赴黃泉
步履艱
海水濺
星斗懸

rl 留言(閒著也是閒著的rl):

I knew not but the next 
Would be my final inch -
This gave me that precarious Gait
Some call Experience.
悟失足
成千古
步踟躕
飽世故

*****
Emily Dickinson died on May 15th 1886. Only 10 of her poems were published during her lifetime; hundreds more were discovered in a wooden chest after her death, and a legend grew up, sweet with pathos, of a woman too delicate for this world, disappointed in love.http://econ.st/1d2Nifd




Lives Like Loaded Guns: Emily Dickinson and Her Family's Feuds. By Lyndall Gordon. Viking Press; 512 pages; $32.95. Virago; £20. Buy from Amazon.com,...
ECON.ST



艾蜜莉.狄金生(Emily Dickinson,1830-1886)

山間行草/文】


這個世界,處處可以是作者的行蹤:屈原有他行吟的澤畔,蘇東坡有他一再謫放的天涯,傑克‧倫敦(Jack London, 1876-1916)有他的荒漠北極,費滋傑羅(F. Scott Fitzgerald, 1896-1940)有他的燈紅酒綠,而海明威,有他的狩獵場和戰地……。其他人,即或沒這麼戲劇性,至少都有一定廣度的生活經驗,作為寫作素材的來源。像那樣,一輩子住在她出生的屋子裡,二十幾歲還是青春年華就開始足不出戶的,大概少有別的例子了。她在五十六歲時因腦膜炎過世,一生當中至少有三十年,過的是自我幽囚的日子。

狄金生身後留下了一千七百多首詩,生前發表的卻只有七首(其中有兩首重複,所以嚴格講只有五首),並且是別人替她投出刊登的;就詩人的身分來說,她生前近乎沒沒無聞。但死後她妹妹將她的詩稿交給出版社,一八九○年單卷版出書,立即就引起注意。隨後幾年狄金生詩集不僅一再出版,連她的書信集也緊接著在一八九四年整理問世。進入二十世紀後,狄金生作為十九世紀最重要美國詩人之一的地位,也逐漸確定,一九五○年,她的全部手稿由哈佛大學購齊,出版全集。

狄金生家世相當顯赫,祖父是麻省Amherst學院的創辦人,父親曾任美國國會參院和眾院的議員。以這樣的家庭背景,狄金生很有機會活得眾星拱月,熱鬧繽紛。但她一生卻只留下一張約二十歲左右時拍的,輪廓清麗但沒什麼表情的照片;所有的傳記,則都只能從她的書信去努力想像各種可能的蛛絲馬跡。這個女子,是的,在她青春盛放的歲月,就選擇了把自己幽禁在一個屋簷下。她做家事,她一首又一首寫不期待讀者的詩。即使對左鄰右舍,她也只是偶爾素衣在窗前閃過的身影。

研究狄金生的人,最好奇的都是她的感情生活。狄金生沒留下任何談戀愛的具體紀錄。但書信中有不少詞語熱切的信是寫給某位特定異性的,信的抬頭是master,對方顯然是個長輩:有人猜是她父親的一位法律界朋友,有人猜是一個編輯人,但總之無從證明。狄金生也跟一位女性朋友Susan Gilbert寫極熱情的信,用詞之親暱可以斷定兩人之間關係非比尋常。但後來Susan竟成為她的弟媳婦,兩人因此似有一段時間的不諒解,書信也就戛然而止。
狄金生的詩,奇特地,越過它們的創作者殊異的人格特質,也超越了她幾乎刻意隱匿的存在,在她身後大放光芒。早期的出版,讀者雖也立刻被她奇特的想像、精巧的譬喻所吸引,但多半對她完全不守格律規章的寫法不能認同。她任意斷句,句中句尾到處加破折號,韻腳不齊,又喜歡隨便大寫,就像這首〈靈魂選擇她自己的同伴〉(第一段):

The Soul selects her own
Society 
Then shuts the Door
To her divine Majority
Present no more
……
她也不給自己的詩訂題目。後人替她出的詩集,只好都用第一行作題目酖酖倒彷彿我們古代的《詩經》。但是越到二十世紀,英詩的格律式微,連康明思(ee comings, 1894-1962)那樣在詩裡把一個個字拆得七零八落的都有,狄金生的劣勢反而變成優勢了。不管是愛情詩中的難解的隱喻,還是宗教想像中的神祕色調,或者歌頌自然時的細緻觀察,她的特立獨行和女性特質,都使二十世紀以來的讀者不僅接受,而且擁抱她。而狄金生自己,儘管孤僻自閉,刻意與外界隔絕,並沒有失去對自己作品的信心,她曾說,"If fame belonged to me, I can not escape her."「如果名聲該屬於我,我絕逃不掉。」歷史也證明她果然沒有「逃掉」!

狄金生所處的時代環境,一方面是基督教的復興,一方面是一八六○年代南北戰爭的發生。她的詩裡常可看到信仰的影響:冥冥中的主宰和神祕的永恆,都常是她詩中隱喻的主題;至於那幾乎撕裂了美國的戰爭,作為隱者的狄金生,顯然不特別關注。狄金生證明的也許是,文學是有可能完全不必對外界作回應,而依然成其「好」的。

除了唯一的一張照片,很多人也注意到狄金生特別的墓誌銘。狄金生死後就葬在居處不遠,墓碑上刻著「CALLED BACK」。原來是她過世前一天寫給表妹們的字條,"Little sisters, Called back."表妹們,我(奉召)要回去了。後來親人就把字條上Called back這兩個字作了她的墓誌銘。
這是狄金生遠行前向世界的慎重告知,卻恐怕也是最短的詩人墓誌銘了。 

《東海學報》第一卷第一期,1959;《中國文哲研究集刊》創刊號,1991

$
0
0
《東海學報》第一卷第一期,臺中:東海大學,1959,328頁(直排)+141頁(橫排),25.8 × 19
獲燕京學社補助。我這本,封面蓋有"東海大學中國文學系",2015.5.16 購自總書記。


東海學報為純學術性之綜合刊物。
所收錄之文章內容,大都為新材料之發現,新觀點的提示,新的綜合整理,實驗中之新發現及調查統計之新資料,或是關於世界新刊名著及珍貴古典之評介等。
  
 
民國48年6月創刊
出版者:東海大學出版
編輯者:東海學報編輯委員會
25.8 × 19

*****

《中國文哲研究集刊》創刊號,南港:中央研究院中國文哲研究所籌備處,1991.3 ,25.8 × 19,450頁。2015.5.16 購自總書記



Joan of Arc, Saint Joan By George Bernard Shaw, 聖女貞德

$
0
0
As a convent student Emma mistakes her “ardent veneration for illustrious or ill-­fated women” like Joan of Arc for a religious vocation, dreaming of voluptuous sacrifices perfumed by incense.


蕭伯納此書有漢譯。花很多篇幅談論史實/史觀。聖女貞德。
  1. Saint Joan
    Play by George Bernard Shaw
  2. 3.8/5·Goodreads
  3. Saint Joan is a play by George Bernard Shaw, based on the life and trial of Joan of Arc. Published in 1924, not long after the canonization of Joan of Arc by the Roman Catholic Church, the play dramatises ...Wikipedia
  4. First performanceDecember 28, 1923


Joan of Arc was canonised ‪#‎onthisday‬ in 1920. Here’s a 19th-century portrait of the French heroine http://ow.ly/MW45H

British Museum 的相片。

《飄著細雪的下午》: quod erat faciendum (2007。2015)

$
0
0
2015.5.17
漢清兄,
知道你讀書廣,附上的pdf檔*,是一位元相當有成就的生物學家作的,人文氣息很濃的散文。找這樣的人給 talk ,比找我好。民德退休人士在湖邊,看雲起日落,聽風吹雨打。每日去只有我一人的泳池游泳偶然弄幾條湖魚做湯


2007.8.26
《飄著細雪的下午》(作者:趙民德,台北:九歌,2007)


我是在台北一個飄著細雨的下午巧遇《飄著細雪的下午》。另一個飄著細雨的下午,去師大路買書。因為去台大的路亮起紅燈,我就往師大方向走。

副標題採拉丁文quod erat faciendum,其技術意義,詳本文末的注解*。

書中文章「飄著細雪的下午」,乃是紀念作者父親的文章。我中學時代有幸知道那輩的反共文藝先鋒,所以真是幸會。這篇至文我讀來感動,而且覺得文如其人。「他的文章一篇一篇的登,他的反共歌曲一首一首的作。」

(約10年前,我在師大停車場將剛出版的《戴明博士四日談》送趙先生,那時候他就這樣說:「.....你他書一本一本的出......」)

以前以為"一代"或"一輩"是二十五年;最近才知道古希伯來等 一輩是四十年。

這本趙先生的"青春戀曲",有許多"舊台灣或台北"的images。

譬如說,他們舞會或彌沙之後,送女朋友回家,搭的是"三輪車"。

那時候,台北最高的大樓,也只十來層的國賓飯店。


請看2006年作者的 江湖小隱

Tuesday, June 6th, 2006

遠來誰是客
未老莫還鄉
江湖小隱處
煙水兩茫茫

他現在或許在蘇州湖畔的十一樓上,看盡的是江南的煙雨、流水小橋。
仍然是遊人只合江南老。


他的主文"三部曲"之末曲寫於1999。
我倒是喜歡他晚年的文筆有情。


我今天接到趙先生發自蘇州的信,說我的信是亂碼,希望用檔案給他。

我用英文建議民德兄,希望他的部落(格)【趙民德老師趙家酒店 http://www.jds-online.com/blog/】,多登些本書類型的文章。


以下是我從出版社找的資料,供您參考:

自序:年輪趙民德
出這本小冊其實心想了很久,以前的理由是:現在我再也寫不出這樣的東西了;比較真實的理由是不忍棄之,雖然別人看起來也許覺得是雞肋;更進一步的理由則是︰其實自己還是滿喜歡這些文章的;至於問到為什麼真的有些喜歡,問題就比較認真了:這...(詳全文)

推薦序:世局方寸地 文章九曲腸──細品趙民德的《飄著細雪的下午》王鼎鈞
台灣外文系出了很多作家,傳為美談,理工科系也出了很多作家,稱為異數。理工科系出作家,應是大專招生聯考制度的額外收穫。那些年,理工科是青年的理想出路,吸引了天資優異的青年,其中頗有一些考生具有文藝創作的才華,也只能收拾起來,...(詳全文)
雖然學的是理工,但難掩創作才華,趙民德便是這樣的作家。名作家王鼎鈞讚譽:「詩的精緻,劇的張力,散文的鋪陳,奠定趙民德業餘小說家的地位。」並稱頌:「六十年代的鬱悶拘謹,內在燃燒,趙民德先生借著刻畫小說人物,留下許多珍貴的記述。他能用流麗的語風驅走沉... (詳全文)
*

quod erat faciendum(KWAWD eh-RAHT FAH-kee-END-um) That which was to have been shown. Abbreviated QEF, it was traditionally used to mark the end of a...
abbr.
1. =quod erat faciendum (=which was to be done)【拉】這就是所要做的

There is another Latin phrase, with a slightly different meaning, but a similar, if less common usage.Quoderatfaciendumis translated as "which was to be done." This is usually shortened toQ.E.F.. As with Q.E.D., Q.E.F. is a translation of the Greek geometers' closing(hoper edei poiēsai).Euclidused this phrase to close propositions which were not precisely "proofs", but rather examplar constructions. The distinction between Q.E.D. and Q.E.F. is roughly equivalent to the distinction between a proof and an illustration of the proof.


飄著細雪的下午
雖然學的是理工,但難掩創作才華,趙民德便是這樣的作家。名作家王鼎鈞讚譽:「詩的精緻,劇的張力,散文的鋪陳,奠定趙民德業餘小說家的地位。」並稱頌:「六十年代的鬱悶拘謹,內在燃燒,趙民德先生借著刻畫小說人物,留下許多珍貴的記述。他能用流麗的語風驅走沉... (詳全文)

譚婉玉《無想》

$
0
0
漢清兄,

知道你讀書廣,附上的pdf檔,是一位元相當有成就的生物學家作的,人文氣息很濃的散文。
找這樣的人給 talk ,比找我好。
民德
退休人士
在湖邊,看雲起日落,聽風吹雨打。
每日去只有我一人的泳池游泳
偶然弄幾條湖魚做湯

無想





內容簡介
  一個科學人的文學淺讀,於宇宙微物的知與不知還有無知。

  一個宅女對世間萬象的冷眼熱心,於學術象牙塔中偷窺到的浮華世界。
  從昔時陽春白雪至今日虛擬異境,一份橫跨時空的絮語。
作者介紹
作者簡介

譚婉玉

  1964 年生,現任職中央研究院,百分之九十九的科學人。此書源起於旅行札記,途經部落格,目前在一款「無想」碑下小憩片刻,觀望四周的人生風景。


目錄

卷一 也是書蠹 XX
之一 拾遺與拾趣 001
關於書寫三章 002
文字的旅行 006
冬眠讀書 010
複製「人格」 012
在銀河裡遇見同志 014
一盤讀書心得雜燴 016
向方文山借詞 021
對照在1964 023
瀟灑過關 029
旅途中的閱讀與聯想 031
村上iPod 033
之二 寂寞荼糜 035
想花 036
一朵花比一百朵花更美麗 039
花的哀愁 041

卷二 宅女觀點 044
之一 我城異域 045
眼看他高樓起 046
城市‧ 塵世 048
復古城市 051
之二 非年非節 054
清境冷霧 055
在宅過年 057
非終非始 060
新年關鍵詞 062
世界末日後的新年 066
之三 無屆世界 069
宅女的e世界 070
宅女之
3C
旅行 073
書店迷航 074
徐志摩漫步雲端 076
書店的演化史 078
跑步機上的閱讀進化 081
之四 不是科學 083
雙螺旋之後 084
古人的物理課 087
新光三越的化學課 090
諾貝爾椅子 092
我是RNA 094
之五 無分類觀點 095
專業的時尚定義 096
簽書會 098
宅女科學人的精簡辭典 100
我的懼物症與拒物論 103
選擇的岐路 106
天地與我不仁 108
宅女的時尚私觀點 110
我的希臘銀行 115
貝拉維她聽音樂會 118
一與百 121
宅與張愛玲 124
Bella momento 127

卷三 宅與宅女 129
之一 關於潛舍 130
為新居命名 131
發現潛舍 133
院中二三事 137
米亞 139
之二 關於一只皮囊 142
樓主小恙 143
身體解構 145
崩毀與重建 148

卷四 無慾饕餮 151
之一 關於食 152
一個存在主義論者的蔬食觀 153
食素之難與難 (Difficulty and Disaster) 165
蔬食的國界 156
虛擬菜單 162
悲哀的贈物 164
食在京都的遺憾與榮寵 166
禪院盛宴 170
之二 關於飲 172
咖啡道 173
與李白共看明月 177
品酒之我見 179
品酒之外道︱甜白酒 182
品酒再一章 185

卷五 宅女出門 189
彼島正陽光燦燦 190
尼泊爾天籟 192
旅美散記 197
再見托斯卡尼 204
上海‧ 蘇州 209
六月京都 213
一個荒原中的旅行 218
梧桐與桂花 223
機場烏龍事件簿 226
夢裡不見長安 231

卷六 有畫要說 234
縱橫美國觀畫小記 235
在台北看印象派 241
春遊北美館 244
初夏的巴黎印象 247
詩畫伴寒冬 249
「印象」歐洲 252
畫外之話 259

卷七 如青色殘焰的往事 264
暴風中的惜別 265
古都 266
菲利普的聯想 270
消失的異域 274
最後十七日 278
父親的歷史課 281

附錄 284
說畫及油畫作品 286

謝 296

先你而

認識婉玉近十八年,以往在學術界裡對她的認知都滿表面的。譬如說,她非常投入於學術研究,每天喝五六杯以上的黑咖啡,不大睡覺,不大吃東西,看起來瘦小但精力旺盛,每天都在寫論文。她女兒在小時候叫她「paper 媽咪」(論文媽媽)。婉玉對學術研究非常執著,對論文寫作有很高水準的要求,因此得到國際學術界的認可,成為國際學術期刊的審查編輯幾個月前在一次好友的晚餐聚會上,婉玉拿她寫的一小冊散文《無想》給我,本以為只是要在週末欣賞一下她的作品,沒想到她要我為她的散文集寫序。我還以為她在開玩笑,因為認識我的朋友都知道我的寫作能力不佳,但婉玉天真地認為我應可以應付自如,我只好盡力而為。我在看完她的散文及插畫,才了解她對人生的思維看法,也反應出一位科學研究學者的另一面。婉玉的文學知識應該是超過一般科學研究學者,在開卷第一章她便明白的表示,她生存在孤獨中,書寫是與世界溝通的一種方式,看起來她閱讀不少東西,看過的書似乎都留在她腦海裡,並能引經據點的穿梭在她的散文中。或許如同她散文中所描述的,文字的旅行亦是一種救贖,讓乾枯的靈魂找到一點活泉。婉玉在學術寫作之最後一章,短短幾句就述盡一般的科學研究者在學術寫作中所經歷的淬練與爭扎。寫作能力如此好的她都說學術研究寫作把她徹底侵蝕,可見她對內容所設定的基準是非常高。

婉玉喜歡離群索居的獨處式生活,如日本知名小說家村上春樹的生活哲學,散文中處處可見她喜歡「自閉式」的生活內容。她喜歡待在家裡讀書,寫作,作畫,連「鍛鍊自己的靈魂」的運動,都只在家中的跑步機上奔馳。

在〈對照1964〉一文中,有關初戀、孔子、求職及報紙等的極短陳述,婉玉都非常直接且寫實地表示對事情的看法。她對花的癡念在〈寂寞荼糜〉一文中表露無遺。櫻花的美麗與飄落的哀愁是渾然一體,但綻放的過程仍可絢爛無比,文中述說古今對生命無常及人生的空寂的看法。花的生命不長,不管有無人欣賞,都要美麗活下去。對生活城市的變遷,現代豪宅,驚天動地的餐飲,婉玉都沒有好的感覺。據我對她的了解,她最喜歡的城市應該是日本京都。一個到處有枝葉及古色古香的質樸小街,具有人性的城市。過年過節似乎對她是一種夢魘,怪咖的她繼續做研究再穿插看電影看小說,以短暫躲避年節。她對於現代無屆的e世界、大資訊(big data) 的趨勢、用雲端儲存個人的資訊做了全紀錄,她對於個人的思維與偏好赤裸的呈現或被呈現在網路上,也表示有些悲哀。

在宅女科學人的精簡辭典中,每個字的解釋都再次顯示出婉玉的個人獨特性,十分有趣,令人莞爾一笑。至於婉玉的新簡約生活主義,當然也在她的懼物症與拒物論做了經典的論述。然而雖沒有將她的薪水上供給時尚設計師,她也品頭論足時尚設計一番,別具風趣。不過她的傑出科學腦子似乎沒有保住她銀行的存款,而被銀行理專玩掉去希臘西班牙和肯亞的旅費。婉玉似乎有用不完的時間,她是古典音樂迷,並能欣賞音樂會中的各種作曲風格。她同時能欣賞美術畫中的細節及各種美感,更令人敬佩的是她還真的能畫畫。

她對居家也花了不少心思,在〈潛舍〉一文中也感覺到她成為小樓主的歡喜。至於她能每天睡不到五小時,而十年才感冒一次,幾乎如超人般的日夜工作,對多病在身,每天一定要睡足八小時的我而言,玉是一位蔬食的存在主義者,但她也非純清教徒,仍喜歡香檳、咖啡、玫瑰及葡萄酒。雖然她對葡萄酒的知識實在令人徹底佩服,什麼葡萄,什麼酒莊製造,哪種特別的味道,她都瞭若指掌,但她的酒量實在是不怎麼樣。有一年在德國柏林參加學術研討會,晚上婉玉提議飯後去喝葡萄酒放鬆一下,幾位好友就找個小酒館,先各來一小杯當地的白酒,然後她就非常高興地閱讀酒館內所供應的各種紅酒瓶上的標籤,就像做學術研究一般的投入去欣賞葡萄酒。但我們才剛要開始好好喝幾杯,她卻說她已經不行了。可見雖然她喝咖啡很行,喝酒就只能用說的了,不過這就是她可愛天真的一面。
散文中她描述到世界各地旅遊的感覺,讓人摸索她在買了一顆天珠之後是否能更接近佛陀的疑問。雖然我也旅遊世界各處,但她在散文中對法國、義大利、美國、中國、日本及尼泊爾的描述,都能讓人看出她思路的複雜及文筆的細膩。如前所述,本人寫作能力不佳,雖然這篇序只是簡要提及婉玉書中特別令人印象深刻的段落,但就花了我週末一整天的時間來寫,也可謂鞠躬盡瘁了。以我的文筆,實在無法呈現本書豐富多彩的全貌,請讀者務必親自開卷細讀,方能領悟其中神思妙趣,一窺這位傑出科學研究者私人世界的堂奧。

李芳仁 ( 台灣大學研發長暨分子醫學研究所所長)
----
婉玉的無想

幾個星期前,我收到婉玉寄來的包裹,打開一看是她《無想》的初版稿。她叮囑我為之寫序。我欣然接受。沒想到幾番閱讀《無想》後,我卻遲遲不知如何交差。直覺只有四個字形容她的文章:古、靈、精、怪。

我與婉玉為友至今超過四分之一個世紀。兩人選擇的人生軌道非常不一樣,婉玉現今所擁有的物質與非物質資產,我都沒有。隨著年歲的增長,我倆如同姐妹般的情誼愈來愈濃,我們分享的大小事也愈來愈多。我卻從不知這位好妹妹竟然私底下如此勤於筆耕,直到拜讀她的大作《無想》。婉玉文筆好得令我這搞了大半輩子中外文學的教書匠驚豔、汗顏。實在令我羨慕。我常開玩笑地說,她一定有超強的特異能量基因。
婉玉是位意志堅定、努力不懈、力求完美的科學家。當她變身成作家時,她的堅持、用心與對美的要求,依然不變。她很努力地過日子,每分每秒都認真地活著。我常笑她簡直是個道行高深的苦行僧。我平日疏懶,家中貓狗都不理我。〈米亞〉一文中,她的貓黏她,很可能是因為在學術上,她也是貓,一隻幾乎快被curiosity 殺掉的貓。閒暇時,我會光腳蹲在後院拔草,很宅。我出入的社交場合多半有青燈古佛,〈禪院盛宴〉卻從沒打動過我。婉玉便不同。她一點都不宅。從她的小品文〈新光三越的化學課〉、〈簽名會〉、〈虛擬菜單〉等篇文章中的機鋒即可見得。禪寺附近人鳥共食的木瓜、仙桃、酪梨、野果野菜,傳統市場裡菜攤上的綠葉紅花,經過婉玉的反思及妙語都變得美麗誘人。我讀了〈專業的時尚定義〉後,想起有一回我們兩人的電話熱線上婉玉說的退休後第二春。原來,她未來的菜攤會是幅Mondrian 的畫,賣菜的老婦專業又時尚,除了有滿腔的熱情,還非常有品味。

婉玉在〈暫存的序言〉中說《無想》是她人生五十的「成果報告」。正是「三更有夢書當枕,書香四溢好傳家。」所謂「有夢」,是指她這隻書蠹看書後所寫下的隨筆。所謂「傳家」,是用來表明書香是她「微物」的存在。也正因為如此,才決定了這本書的特色,使它成了一部引人入勝的語文讀物。

《無想》選取了婉玉近三年來部落格上的文章共九十六篇,分為七卷,篇幅長短適中,篇目及分卷勻稱。入選的作品,大都是婉玉的生活點滴,從中可以看出婉玉生命書寫發展的輪廓。所選雖以白話散文為主,但以主題分門別類成七卷,如〈卷二宅女觀點〉、〈卷三宅與宅女〉、〈卷五宅女出門〉等。這就使讀者能較全面地理解婉玉散文的各種體裁特色。

其次,有些卷下再細分一二章,對主題加以標註,如〈卷四無慾饕餮之一關於食〉、〈卷四無慾饕餮之二關於飲〉等。這就不至於使讀者不容易選擇,便於入門,在對照、思考中得到趣味。婉玉的分類分卷,在我看來,仍然是很婉玉的,堅持、用心而且挑剔,只因為藝術的美。所以這樣的分卷,除了力求完美之外,還考慮到鍛鍊讀者的閱讀習慣。每篇隨筆的著述行文經常引用報刊、網路文章和坊間暢銷書中經常使用的典故與詞彙,如村上春樹、方文山、張愛玲等為大家所熟悉的文章,或取其中的詞語、章節片斷作為對話與類比來運用。試翻本書各篇,幾乎處處發現流行東西文化裡的現代文字、詞組、成語和典故,可見婉玉書讀的不僅多、所涉獵的內容與藝術形式也廣、其聰穎才智當然不在話下。總之,《無想》的作者不愧是古怪靈巧的小龍女。

是為序。

王明月 ( 國立中正大學外文系教授)
----

暫存的序言

雖然在許多不經意的時刻腦海中曾浮現出各式各樣不同版本的「序言」,可是那些文字很快的就消散於無形中了,也曾想正襟危坐寫出一個可以千秋萬世的序言,但紙上卻一片空白,草稿不斷更迭,最後只能落得用天地不驚的潦潦數語把書的起源做個交待。任何事情總是有個開始的,我第一次在電腦裡寫下科學專業以外的文字是多年前在香港轉機至法國的途中,因為無聊的等待,我決心把自己的旅行經歷寫下來,由於不擅中打所以是以英文寫的草稿,多年下來累積了數十篇遊記,直到三年多前設立了一個部落格,才開始用自己最擅長的語言寫些日常的經歷、雜感和讀書心得,同時把自己的旅行文稿撿選一些改寫成中文,總之越寫越有feeling。我向來不迷不信,不觀天象不看風水,但卻一直覺得AB 型雙子座的我有一種與生俱來的人格分裂傾向,在白天我用右手撐起布偶讓它在我專業的舞台上很認真很認命的照著劇本演,甚至往往一上場就演到半夜三更精疲力竭時才下戲,只有在殘餘的時間裡我才能把從誠品搬回家的書從床上廁所讀到跑步機上,我就像赫拉巴爾筆下的漢嘉一樣用閱讀抵抗每日「現實」世界裡的瑣碎,並且在書中展開與自己的對話。

即便如此,工作和生活之間的拉鋸曾讓我的身心一度扭曲變形,直到近三四年我開始用左手在紙上塗塗寫寫,暫時切斷腦中所有的學術連結,才讓自己找到另一個出口。我的AB 我的twin「互相對望對峙但仍能在各自的歧路上前行」( 借用及修改自黎戈的散文《靜默有時、傾訴有時》)。

不知不覺中日子就飛逝過去了,不久前讀到一首詩1 ,詩人為他的五十歲做了一個註解︱「往事將安然卸妝,喧嘩將漸漸寂靜」,我很駭然,因為再過月餘我也將要五十了,我也該找些什麼來詮釋我的五十,因此我把自己的旅行筆記和dump在部落格中的雜想撿回來polish一下給自己一個「成果報告」,因此有了這本《無想》,書名出自谷崎潤一郎《陰翳禮讚》中提到的一位日本文學家2,他的名中有此二字,真好的名字。在我的文中不免有拾人牙慧之嫌,因為我在看書時腦中常會立刻出現一些dialog 和analogy ( 對話與類比),於是我就像聽學術演講寫筆記一般趕快抓一張紙記下來,別人的詞彙往往就trigger 我的文字旅行,我從自己曾經歷過的看過想過的東西裡去尋找對照。我雖是「半隻」書蠹但絕對不到能寫書評的程度,就像喝咖啡品酒,我只能辨其香醇或略識其品種產地,至於它是否內藏紫羅蘭 (violet) 或覆盆子 (raspberry)的香氣就非我能力所及的了,到底我的功力有多少?可能不及前述散文作者黎戈的千分之一,作者說她不過是寫些「讀書筆記」「懶散小文」,可是在我看來卻是一把刀在古今作家中揮舞的遊刃有餘,相較起來我寫的不過是像小學生為了要得張「小秀才獎」而「看了」五百本書,所以我先招認自己的弱點免得被人撻伐。

除了書以外我也寫了一些五十宅女的觀點,包括衣( 時尚與極簡的相對論)、食( 飲宴小食)、住( 宅內宅外)、行( 四眼雙腳的行旅),再加上時間 ( 一些陳年歷史) 和網路的無限可能,構成了一個大於四次元面象 (dimension) 的雜書。這本書寫的既小我又「微物」3,對我而言又是件不務正業的事,所以我寫的極為心虛,不過總算在五十歲來臨的前一刻把它完成了,就讓我先按「暫存」鍵告一段落,因為我相信我仍會在腦中不斷的修改,就像修改科學論文一般,有時是一種如夢靨的宿命。

二○一四年三月六日

1田運良的詩<很多年以後>
2.武林無想庵(1880-1962)為日本小說家、翻譯家
3.語出自周芬伶及張小虹文章

Greek Architecture

$
0
0

Faculty bookshelf: Assistant Professor of Art and Archaeology Nathan Arrington in his McCormick Hall office, with the book that inspired him to choose archaeology as his field. (Photo: Catherine Zandonella)

Princeton University 的相片。

托瑪斯.曼《浮士德博士》Doktor Faustus 彭淮棟譯 2015

$
0
0

Everyman's Library 的相片。


"Why does almost everything seem to me like its own parody? Why must I think that almost all, no, all the methods and conventions of art today are good for parody only?"
--from "Doctor Faustus" By Thomas Mann


Thomas Mann wrote Doctor Faustus during his exile from Nazi Germany. In retrospect it seems—although he already had a long string of masterpieces to his name—that this is the novel he was born to write. Obsessively exploring the evil into which his country had fallen, Mann succeeds as only he could have in charting the dimensions of that evil; and this drama of a composer who sells his soul for the artistic power he craves has both the pertinence of history and the universality of myth. With an introdcution by T.J. Reed, this version is a translation by H.T. Lowe-Porter.




(論托瑪斯曼的生活與創作,54頁)、小說"托尼歐克略格"、"特里斯坦"。

《魂斷威尼斯 : 威尼斯之死 / 托瑪斯曼.(Thomas Mann) ; 宣誠譯 台北市 : 志文73[1984],61版權


2015.4
托馬斯曼《浮士德博士》裡的音樂     彭淮棟   (前篇)
動画は http://youtu.be/YrEd9sqYCDc で公開されます。

托馬斯曼《浮士德博士》裡的音樂     彭淮棟  (後篇) 座談會
動画は https://youtu.be/L_j8zWxIvjA で公開されます。


重讀小記THOMAS MANN (10年前寫的)。第一段是:

 The Cambridge Companion to THOMAS MANN 2002;重慶出版社影印,2006),發現末章是探討其原授權之德譯英版本的許多「翻譯」問題(Mann in English)。有些是翻譯者誤會/不懂,有些是翻譯者似乎圖謀不軌(稍微改動會讓讀者對人物的看法很不相同…….



研:Love's Labour's Lost and Doctor Faustus

第2英文翻譯本NTU: PT2625.A44 D63 1999

    Doctor Faustus : the life of the German composer Adrian Leverkühn as told by a friend / Thomas Mann ; translated from the German by John E. Woods

    New York : Vintage International, 1999, c1997
  1. 托瑪斯.曼《浮士德博士:一位朋友敘述的德國作曲家阿德里安.雷維庫恩的生平(Doktor Faustus)彭淮棟譯,台北:漫步文化,2015

    蘇珊•桑塔格談到《浮士德博士》的論文,除了本書附錄的《朝聖――記托瑪斯.曼》之外,我認為還應該參考其論文西貝爾貝格的希特勒》,收入《在土星的標志下》,姚君偉譯,上海譯文出版社,2006,頁135-63

    參考英文版:
    Susan Sontag on Hitler
    https://youtu.be/w8sfBoid8_Y

    Video essay on HITLER: A FILM FROM GERMANY (1977, dir. Hans-Jurgen Syberberg). Text taken from Susan Sontag,"Syberberg's HITLER" (1979西貝爾貝格的希特勒). Film available on Facets DVD and on Hans-Jurgen Syberberg's website: www.syberberg.de. For more information visit alsolikelife.com/shooting



  2. Doctor Faustus
    Novel by Thomas Mann
  3. Doctor Faustus is a German novel written by Thomas Mann, begun in 1943 and published in 1947 as Doktor Faustus: Das Leben des deutschen Tonsetzers Adrian Leverkühn, erzählt von einem FreundeWikipedia
  4. Published1947
  5. GenreFiction

浮士德博士:一位朋友敘述的德國作曲家阿德里安.雷維庫恩的生平(德文直譯+導讀譯注本)

Doktor Faustus: Das Leben des deutschen Tonsetzers Adrian Leverkühn erzählt von einem Freunde.


內容簡介

藝術.啟蒙.黑暗.愛
諾貝爾文學獎得主托瑪斯.曼一生最鍾愛作品
遲到近七十年的經典,台灣首度翻譯出版!

  附蘇珊.桑塔格回憶十四歲拜見托瑪斯.曼之〈朝聖〉
  翻譯家彭淮棟「夢魘」之譯作,譯者導論兩萬字,譯注三萬五千字


  有人說世界上只有一個人可以獲得兩次諾貝爾文學獎,此人便是托瑪斯.曼;第一次可以憑《魔山》得獎,第二次則可憑《浮士德博士》。

  「這本書於我十分珍貴。它是我一生的總結,是我所親歷的這個時代之總結,同時也是我有生以來所能給出的最為個人的東西,其坦率近乎瘋狂。」――托瑪斯.曼

  德國大文豪托瑪斯.曼最後一部偉大小說,首次發表於1947年,是德國浮士德傳說的現代版,即出賣靈魂與魔鬼交易的故事。本書為托瑪斯.曼晚年最令人揪心和震撼的鴻篇巨著,作者本人也對其異常重視,視其為「一生的懺悔」、「最大膽和最陰森的作品」。在生前最後一次接受採訪中,托瑪斯.曼非常明確地表示這本藝術家小說是他的最愛:「這部浮士德小說於我珍貴之極……它花費了我最多的心血……沒有哪一部作品像它那樣令我依戀。誰不喜歡它,我立刻就不喜歡誰。誰對它承受的精神高壓有所理解,誰就贏得我的由衷感謝。」

  小說主角為作曲家阿德里安,其原型為德國哲學家尼采。少年時即顯露出天資聰穎、才華橫溢、孤傲自賞、野心勃勃的姿態,是一位有音樂天賦,前程似錦的年輕人,但他不滿足於現狀並追求「真正偉大的成功」,因此與魔鬼交易,換取24年音樂靈感與創造力。他激進的新音樂,如同危險的遊戲,在不可能的邊緣地帶操弄。作為對24年無與倫比的音樂成就之回報,他交換他的靈魂與他愛人的能力,在此期間,他的靈魂歸魔鬼所有,而且不可以愛人。

  就在他的藝術不斷提升時,周圍環境卻不斷出現道德墮落的危機現象,他本人也開始違背不許愛人的禁令;他身邊開始不斷有人死亡,熟人自殺,他的同性戀男友被有夫之婦槍殺,阿德里安悲憤欲絕,猛然覺醒,他要對他的一生懺悔……

  本書不但是是托瑪斯.曼最深沉的藝術表達,阿德里安的生平也是個輝煌的寓言,暗喻納粹德國的崛起,以及德國人民摒棄人性、擁抱野心與虛無主義。這也是托瑪斯.曼對德國天才與真正偉大的藝術家,對他們可怕的責任最深刻的沉思。

本書特色

  1.    托瑪斯.曼晚年最重要作品,有書評認為他憑此書可以再得一次諾貝爾文學獎。

  2.    本書翻譯難度甚高,知識淵博、文筆優美、技巧高超,更勝托瑪斯.曼另一代表作《魔山》,但小說情節仍然具有吸引力與可讀性。

  3.    1947年出版以來,台灣從未有中文翻譯,翻譯家彭淮棟學養深厚,尤其熟悉古典音樂知識,卻仍需費時兩年半嘔心瀝血,翻譯過程稱之為「夢魘」。

  4.    隨書附導讀譯注本,收錄蘇珊.桑塔格回憶十四歲時與朋友拜訪托瑪斯.曼之散文〈朝聖〉,文長一萬五千字。

  5.    譯者導論兩萬字,翔實譯注三萬五千字,幫助讀者全盤理解本書。

作者介紹

作者簡介

托瑪斯.曼 Thomas Mann


  1929年諾貝爾文學獎得主

  德國著名作家,1875年生於德國北部小鎮呂貝克,父親經商,家境小康,童年時光「幸福且受關注」。十六歲那年父親去世,一家人靠變賣父親的公司生活,他對學校課業毫無興趣,提早輟學進入火災保險公司上班,工作之餘從事寫作。後來進入慕尼黑應用技術大學選修歷史、文學等課程,當時的目標是成為記者,成年後繼承父親的遺產,成為一名自由作家。

  第一次大戰爆發後,托瑪斯.曼起初支持帝國主義發動戰爭,認為戰爭原則上是必要的;之後遭到希特勒迫害,1933年流亡瑞士,1940年移居美國加州,發表了「我所在之處,就是德國文化」的名言。逃亡中一再宣揚反戰思想,晚年致力於創作長篇小說《浮士德博士》,作為一生的懺悔。1952年托瑪斯.曼一家人回到瑞士,1955年因動脈硬化症在蘇黎世的醫院逝世,享年80歲。

  托瑪斯.曼26歲時出版第一部長篇小說《布頓柏魯克世家》,小說一經發行就在讀者和文學評論界引起積極的反響和共鳴,因為書中人物並非完全虛構而是真有其人其事。28年後,於1929年以此書獲得諾貝爾文學獎,內容描述兩個家族橫跨四代人物的興衰,反映出資產階級的醜惡、壟斷與激烈競爭,有如德國當時的縮影。長篇重要著作包括《魔山》、《浮士德博士》,另有《魂斷威尼斯》、《馬里奧和魔術師》和《崔斯坦》等中篇小說。

譯者簡介

彭淮棟


  歷任出版公司編輯與報社編譯,譯品包括《西方政治思想史》、《鄉關何處》、《音樂的極境:薩依德音樂評論集》、《論晚期風格:反常合道的音樂與文學》、《貝多芬:阿多諾的音樂哲學》。

目錄

浮士德博士

附錄
朝聖――記托瑪斯.曼   蘇珊.桑塔格
譯者導論   彭淮棟
譯注



朝聖――記托瑪斯.曼(摘錄)


  他說話不用人提詞。我至今記得他的威重,他的口音,他言語的徐緩:我從沒聽過人說話那麼慢。

  我說我多麼喜愛《魔山》。

  他說那是一本非常歐洲的書,說那本書刻畫歐洲文明心靈裡的衝突。

  我說我懂。

  他正在寫什麼作品呢,梅里爾問。

  「我新近完成一部小說,部分以尼采生平為底,」他說,每個字之間留巨大令人不安的停頓。「不過,我的主角不是哲學家。他是個偉大的作曲家。」

  「我知道音樂對你多重要,」我斗膽進言,希望搧風點火把對談好好拉長一點。

  「德國靈魂的高峰與深淵都反映於其音樂之中,」他說。

  「華格納,」我說,一邊擔心這下要壞事了,因為我沒聽過華格納歌劇,雖然我讀過托瑪斯.曼談他的文章。

  「沒錯,」他說,拿起,掂一掂,闔上(一根大拇指在某處做個記號),復又擱下,這回攤開著,他工作桌上一本書。「你們看見了吧,此刻我正在參閱恩斯特.紐曼(Ernest Newman)卓越的華格納傳記。」我鶴長了脖子,讓書名的字眼和作者的姓名確實撞到我的眼珠。我在匹克維克見過紐曼此傳。

  「但是我這位作曲家的音樂不像華格納的音樂。和它有關連的是荀白克的十二音系統,或音列。」

  梅里爾說我們對荀白克都非常有興趣。他對此不事回應。我攔截到梅里爾臉上一抹困惑之色,於是大張眼睛以示鼓勵。

  「這部小說會很快出版嗎?」梅里爾問。

  「我那位忠實的譯者目前正在努力,」他說。

  「H.T.羅-波特(H.T. Lowe-Porter),」我小聲說道――那真是我第一次說這個令人著迷的名字,兩個字頭簡寫晦澀,而連接符號惹眼。

  「對這位譯者而言,這或許是我最難的一本書,」他說。「我想,羅-波特女士從來不曾面對這麼挑戰的工作。」

  「哦,」我說,我對H.T.L.-P本來沒有什麼特別的想像,只是驚訝得知這是一個女人的名字。

  「需要深刻的德文知識,和相當獨具匠心,因為我有些角色用方言對話。而且那個魔鬼――因為,沒錯,魔鬼本人是我書中一個角色――操十六世紀德語,」托瑪斯.曼說,慢而又慢。一絲似笑非笑。「我恐怕這對我的美國讀者沒什麼意義。」

  我渴望說些要他放心的話,但是不敢。

  他吐語這麼慢,我納悶,因為他就是這麼說話嗎?或者因為他認為他必須慢慢說來――假定(因為我們是美國人?因為我們是小孩子?)不這樣我們就無法了解他在說什麼?

  「我視此為我所寫過最大膽的書。」他對我們點點頭。「我最狂野的一本書。」

  「我們非常盼望讀到,」我說。我仍然希望他談《魔山》。

  「但這也是我老年的書,」他繼續。一陣長而又長的停頓。「我的《帕西法爾》,」他說。「而且,當然,是我的《浮士德》。」

  他似乎分心片刻,彷彿回想什麼。他又點一根菸,在椅子裡微轉身子。然後他將菸擱在菸灰缸裡,用食指摩挲他的髭;我還記得我心想他的髭(我沒認識過留髭的人)看起來像他嘴巴戴了帽子。我納悶那是不是表示談話結束了。

  結果,不是,他繼續說話。我記得「德國的命運」和「深淵」……及「浮士德與魔鬼訂約」。希特勒提了好幾次。(他有沒有提到華格納―希特勒問題?我想沒有。)我們盡力表現他的話沒有白耗在我們身上。

  起初我只看見他,敬畏於他的具體臨在使我盲然不覺房間的內容。現在我才開始另有所見。例如,相當擁擠的桌筆、墨水瓶、書、紙,以及一批銀框小照片,我看到的是框背。牆上許多照片之中,我只認得一幅簽名照,是羅斯福和一個人――我記得好像是個穿制服的男人――合影。還有書,書,書,在四壁之中兩壁從地板排列到天花板的架子裡。與托瑪斯.曼同在一室,悸動、巨重、驚心。但我也聽見我生平首見的私人圖書館有如金嗓海妖那樣對優里西士發出的魅歌。

蘇珊.桑塔格
Viewing all 6854 articles
Browse latest View live