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Osip Mandelstam 曼德爾施塔姆

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Monument to Osip Mandelshtam in Moscow, by sculptors Dmitry Shakhovskoy and Elena Munts and architect Alexander Brodsky. 2008. 3 m high.

Osip Mandelshtam 的相片。



《曼德爾施塔姆隨筆選》多人譯,廣州:花城,2010

《曼德爾施塔姆詩選》楊子譯,石家莊:河北教育,2003

 http://en.wikipedia.org/wiki/Osip_Mandelstam


《曼德爾施塔姆隨筆選》 - 媒體推薦

孩子們繼續我們的事業,將替我們道盡最重要的事情,可與此同時,父輩已被提前三代預售給了臉上有麻點的魔鬼。
這便是文學的一頁。
  ——《第四篇散文》
回首整個俄國文化的19世紀,那破碎的、終結的、任何人都既不敢也不應重複的世紀,我真想把世紀喊住,像喊住穩定的氣候,我在其中看到了過度寒冷的統一,這寒冷將數十年焊接成了短短的一天、一夜、一個深深的冬天,在這個冬天,可怕的國家體制就像一台散發著冰之寒氣的火爐。
難道,文學就是一頭舔著自己爪子的熊,一場勞作後躺在書房沙發上做的沉沉的夢?
  ——《時代的喧囂》  

《曼德爾施塔姆隨筆選》 - 作者簡介

作者:(俄國)奧斯普•曼德爾施塔姆譯者:黃燦然等奧斯普•曼德爾施塔姆(1891-1938),俄羅斯白銀時代和阿克梅派的代表性詩人。生於華沙一個猶太家庭,成長於俄羅斯聖彼得堡,青年時代在法國、瑞士、意大利和德國遊學多年,後重返聖彼得堡攻讀哲學並開始發表詩作。1934年因作一首諷刺斯大林的詩而被捕,在流放地沃羅涅日寫了滿滿三個筆記本的詩。1937年返回莫斯科,旋即於1938年洗清運動高潮時再次被捕,同年在流放途中神秘死亡。生前出版詩集《石頭》、《哀歌》、《詩》,散文集《時代的喧囂》和評論集《論詩》。逝世後詩集包括《莫斯科筆記》和《沃羅涅日筆記》等。  


《曼德爾施塔姆隨筆選》 - 目錄

文明的孩子(代序)/約瑟夫•布羅茨基
弗朗索瓦-維庸
阿克梅派之晨
論交談者
論當代詩歌
詞與文化
詞的本質
獾洞——紀念勃洛克
十九世紀
情節的誕生
關於俄羅斯詩歌的通信
詩歌筆記
狂飆
人道主義與當代
蕭條
為索洛古勃週年紀念而作
雅克出生又死去了
詩人談自己
劣作之潮
小說的終結
時代的喧囂
巴甫洛夫斯克的音樂
孩童的帝國主義
暴動和法國姑娘
書櫃
芬蘭
猶太式的混亂
霍夫曼和庫別里克的音樂會
捷尼舍夫學校
謝爾蓋•伊万內奇
尤里•馬特維伊奇
愛爾福特綱領
西納尼一家
科米薩爾熱夫斯卡婭
“穿著一件不合身的老爺皮襖……” 
第四篇散文
論博物學家
達爾文的文學風格
亞美尼亞之旅(選)
法國人
論博物學家
關於但丁的談話
《關於但丁的談話》補遺
致弗•瓦•吉皮烏斯(1908年4月19-27日)
致維•伊•伊万諾夫(1909年8月13-26日)
致科羅波娃同志(1928年6月25日)
致安娜•阿赫瑪托娃(1928年8月25日
致娜•雅•曼德爾施塔姆(1930年代)
致娜•雅•曼德爾施塔姆(1936年1月1日)
致娜•雅•曼德爾施塔姆(1936年1月2日
致弗•雅•哈津娜(1937年初)
致科•伊•丘科夫斯基(1937年初?)
致科•伊•丘科夫斯基(1937年初)
譯後記  

《曼德爾施塔姆隨筆選》 - 序言

由於某一奇怪的原因,“詩人之死”這一說法聽起來總是比“詩人之生”要更為具體些。這也許是因為,“生”和“詩人”兩個詞就其實際的模糊性而言,幾乎是同義詞。而“死”,即便是作為一個詞,也和詩人自己的產品,即一首詩那樣是確定的。一首詩的主要特徵在於其最後一行。一件藝術作品,無論其內容如何,它總是奔向那賦予其形式並否定再生的結局。在一首詩的最後一行之後,除文學批評外再無他物。所以,當我們閱讀一位詩人時,我們是在參與他或他的作品的死亡。在曼德爾施塔姆這裡,我們參與了兩者。
一件藝術作品,總是被賦予超出其創造者生命的意義。套用一位哲學家的話來說,寫詩也是一種死亡的練習。但除了純語言的需求而外,促使一個人寫作的動機,並不全然是關於他易腐的肉體的考慮,而是這樣一種衝動,他欲將他的世界,即他個人的文明、他自己的非語義學的統 ​​一體中某些特定的東西留存下來。藝術與其說是更好的,不如說是一種可供選擇的存在;藝術不是一種逃避現實的嘗試,相反,它是一種賦予現實以生氣的嘗試。藝術是一個尋找肉體卻發現了詞的靈魂。在曼德爾施塔姆這裡,這些詞恰好是俄語中的詞。
對於靈魂來說,也許沒有比這更好的居所了;俄語是一種非常富有變化的語言。具體說來,名詞可以方便地被置於句尾,這一名詞(或一個形容詞,或一個動詞)的詞尾又富有性、數、格的不同變化。這一切能使任何描寫獲得一種知覺上的立體感,(有時)還會使這一知覺更敏銳,更深入。這種效果最好的例證,就是曼德爾施塔姆對他詩歌最主要的主題之一——時間主題的處理。
沒有什麼比用一種分析的方法去對待一個綜合的現象更讓人奇怪的了,比如,用英語去談論一位俄國詩人。而關於曼德爾施塔姆,就是用俄語文字來評論他也絕非易事。詩是整個語言的最高結果,去分析詩無異於去放大焦點。對於曼德爾施塔姆更不能這樣做,他是俄國詩歌史中的一個極其獨特_的人物,而他的獨特之處正在於他的焦點的密實。只有當批評家同時在心理和語言這兩個層面上展開工作時,文學批評才可能是最合理的。由此看來,無論是在英語還是俄語中,曼德爾施塔姆都將遇上一種從“低一層次”來的批評。  

《曼德爾施塔姆隨筆選》 - 後記: 黃燦然

在我心目中,二十世紀最重要的詩人批評家是瓦萊里、艾略特、曼德爾施塔姆、奧登、布羅茨基和希尼。這些詩人批評家的批評的影響力,都與他們的詩並重。他們之中,曼德爾施塔姆的詩論最奇特,其影響力也最隱形——你幾乎不會想到他這些詩學隨筆足以跟另五位相提並論。
確實,曼德爾施塔姆是,或好像是,一位未充分發展起來的詩論家,一方面是因為他死得早,生前只出版了一本薄薄的詩論集,此外就是一些未結集或未發表的詩論;另一方面是因為他的作品長期被禁。但是,曼德爾施塔姆的詩論,無論是詩學理念還是文章風格,都深刻而明顯地影響了這六位詩人批評家中的兩位——布羅茨基和希尼——而這是別的詩人批評家難以匹比的。
布羅茨基詩論愛用典故和各種科學詞彙,以及文章中閃爍的機智風趣,都直接源自曼德爾施塔姆;希尼詩論的跳躍性和密集隱喻,同樣源自他對曼德爾施塔姆詩論的天才式吸取。兩人先後於1986年和1987年出版的經典性詩論集《小於一》和《舌頭的管轄》,都可以說是以繼承者的身份,充分地把曼德爾施塔姆詩論之價值發揚光大。
曼德爾施塔姆是俄羅斯和二十世紀最偉大的詩人之一。我認為,無論是他的詩還是詩論,都值得引起中國讀者和詩人更嚴肅的關注——我是說,現時我們對他的重視還不夠,我們對他的偉大性的認識還不夠。他那些非詩論的散文,其獨特性同樣令人驚異,並已使他置身於二十世紀俄羅斯偉大散文家之列。
本書原名《時代的喧囂》,一九九八年由作家出版社出版。當年是林賢治先生約的稿,我除了負責翻譯一部分文章外,還擔當了“協調”編者,包括複印一些文章寄給楊青先生譯,以及收錄劉長纓先生一篇已發表過的譯文。至於劉文飛先生直接從俄文翻譯的譯文,現在回想起來好像是原本就已經譯好了的。
但是,從英譯本轉譯的部分,也即大部分批評文章,是在非常短的限期內匆促完成、急急交稿的。就我自己的翻譯質量而言,簡直汗顏,並一直感到遺憾和不可原諒。當林賢治先生又表示希望重印這本書時,我非常高興,因為這是一個改過自新的機會,可以用現在較成熟的經驗和步驟,來校正“少作”。
我除了對自己的譯文作了兩遍校訂、多次通讀修改外,還增譯了八篇文章,包括論維庸、論勃洛克、論索洛古勃。這樣,除了使內容更豐富,也使本書達到了收錄曼德爾施塔姆所有重要詩論。  

《曼德爾施塔姆隨筆選》 - 文摘

維庸是巴黎人。他愛這座城市及其悠哉閒哉的生活。他對大自然缺乏任何柔情,甚至嘲笑大自然。15世紀的巴黎已經像一個大海,你可以游泳而永不會感到沉思,對世界別的地方渾然不覺。但在悠閒生活的無數礁石中,又是多麼容易就擱淺!維庸變成殺人犯。他的命運的被動是觸目驚心的。彷彿他的命運正等待被機遇施肥料,不管這機遇是善是惡。在6月5日發生的一次荒誕的街頭打鬥中,維庸用一塊沉重的石頭砸死謝爾莫耶神父。他被判處絞刑,他上訴,並得到寬仁的赦免。他開始自我放逐。他居無定所的生活終於粉碎了他的道德,導致他加入一個叫做“劍格”的犯罪團伙。他剛回巴黎,就參與一宗大劫案,打劫納瓦爾學院,然後立即逃往昂熱,並宣稱這是因為一次痛苦的戀情。事實上,這使他有時間為打劫他富裕的叔叔做準備。在因巴黎劫案而躲藏時,維庸出版了《小遺囑集》。接著是多年居無定所的遊蕩,其間曾在一些封建宮廷和監獄待過。1461年,維庸獲路易十一世特赦,經歷一次深刻的創作激動,思想和感情出現非凡的清晰度,寫了他為世世代代留下的紀念碑《大遺囑集》。1463年11月,弗朗索瓦•維庸在聖雅克路觀看人家打架時被殺死。至止,我們有關他的生平的資料結束了,他黑暗的傳記猝然告終。



詩人曼德爾施坦姆(Osip Mandelstam,1891-1938)曾言:「我把普希金和萊蒙托夫拿來對比,左看右看都看不出兩人有血緣關係。」

 Coetzee, J.M. "Osip Mandelstam and the Stalin Ode", Representations, No.35, Special Issue: Monumental Histories. (Summer, 1991), pp. 72–83.

Osip Emilyevich Mandelstam 奧西普·埃米爾耶維奇·曼德爾施塔姆俄語О́сип Эми́льевич Мандельшта́м,1891年1月15日-1938年12月27日),蘇聯詩人、評論家,阿克梅派最著名的詩人之一。

生平

曼爾施塔姆出生在華沙的一個富裕的猶太家庭。他的父親從事皮貨生意,所以能被分配一個殖民圍欄的名額。奧西普出生不久他們全家都搬到聖彼得堡。在著名的特尼切夫斯基學校學習,這個學校的校友還包括納博科夫等蘇聯名人。他的第一首詩在1907年發表於校刊上。
在1908年四月,曼爾施塔姆決定去索伯內去學習文學哲學,但第二年他轉投了海德堡大學。1911年,為了繼續在聖彼得堡念大學,他轉信衛理公會(但他沒實際活動)。
曼爾施塔姆的詩歌,在俄國第一次革命1905年後,尖銳的表達人民黨的觀點,已帶了象徵主義的特點。1911年他從海德堡大學回來後,組織另外幾個 俄國詩人組建了詩人公會。這個公會的核心就叫做阿克梅派。1913年,曼爾施塔姆起草了《阿克梅之晨》(出版於1919年)。同年他出版了他的第一本詩選 《石頭》。1916年他戀上了安娜·阿克馬托娃。


在1921年結婚以後,娜傑日達奧西普·曼德爾施塔姆曾在烏克蘭彼德格勒莫斯科喬治亞等地居住過。奧西普於1934年因其作品《史達林諷刺短詩集》(Stalin Epigram)而遭到逮捕,並與娜傑日達一同被放逐至彼爾姆邊疆區切爾登(Cherdyn)去,後來改到沃羅涅日


http://www.nobelprize.org/nobel_prizes/literature/laureates/2014/modiano-lecture_en.html



There was something dizzying about browsing through these old phone books and thinking that from now on, calls to those numbers would be unanswered. I would later be struck by the stanzas of a poem by Osip Mandelstam: Il y avait quelque chose de vertigineux à feuilleter ces anciens annuaires en pensant que désormais les numéros de téléphone ne répondraient pas. Plus tard, je devais être frappé par les vers d’un poème d’Ossip Mandelstam :

I returned to my city familiar to tears,
To my vessels and tonsils of childhood years,
Petersburg, [...]
While you're keeping my telephone numbers alive.
Petersburg, I still have the addresses at hand 
That I’ll use to recover the voice of the dead.



(梁永安) :斗膽越俎代庖,掰譯大意如下,是為充當敢死隊(也是必死隊)之意。

回到熟悉得快讓我哭的城市(這「詮釋」見google)
聖彼得堡--
我童年時代的血管與扁桃腺

你,聖彼得堡,仍讓我(舊日)的電話號碼打得通
我則仍保存著(已死親朋的)地址,將用它們
讓死人的聲音復活


----

 Sometimes a name disappears from one year to the next. There was something dizzying about browsing through these old phone books and thinking that from now on, calls to those numbers would be unanswered. I would later be struck by the stanzas of a poem by Osip Mandelstam:
I returned to my city familiar to tears,
To my vessels and tonsils of childhood years,
Petersburg, […]
While you're keeping my telephone numbers alive.
Petersburg, I still have the addresses at hand
That I’ll use to recover the voice of the dead.
So it seems to me that the desire to write my first books came to me while I was looking at those old Parisian phone books. All I had to do was underline in pencil the name, address and telephone number of some unknown person and imagine what his or her life was like, among the hundreds and hundreds of thousands of names.
列寧格勒

列寧格勒

回到我的城市,這像眼淚,血管,和童年的腮腺炎一樣熟悉的地方。
你到家了,那就趕快去吞一口列寧格勒河岸魚肝油般的灯火吧。
趁還來得及,去跟十二月的日子相認吧:
美味的蛋黃已伴進不祥的瀝青。
彼得堡,我還不想去死:你有我的電話號碼。
彼得堡,我還有一些地址,我能從那兒召回死者的音容笑貌。
我住在樓梯間裡,嘈雜的門鈴撞擊我的太陽穴,撕裂了那兒的皮肉。
我徹夜等待著可愛的賓客,門上的鍊子,就像鐐銬嘩啦嘩啦響著。
(1930.12)
----《曼德爾施塔姆詩選》楊子譯,石家莊:河北教育,2003,頁160-61



Osip Mandelshtam 的相片。


《韋伯方法論文集》 《現代理性主義的興起──韋伯西方發展史之分析》

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《韋伯方法論三篇》 1949年The Free Press 出版,Shih寫前言:2011年改由Transaction出版,加一篇導論。


Methodology of Social Sciences

Description

Max Weber wrote these methodological essays in the closest intimacy with actual research and against a background of constant and intensive meditation on substantive problems in the theory and strategy of the social sciences. They were written between 1903 and 1917, the most productive of Max Weber's life, when he was working on his studies in the sociology of religion and Wirtschaft und Gesellschaft.
Weber had done important work in economic and legal history and had taught economic theory. On the basis of original investigations, he had acquired a specialist's knowledge of the details of German economic and social structure. His always vital concern for the political prosperity of Germany among the nations thrust him deeply into discussion of political ideals and programs.
Weber's methodology still holds interest for us. Some of its shortcomings, from the contemporary viewpoint, may be attributed to the fact that some of the methodological problems that he treated could not be satisfactorily resolved prior to certain actual developments in research technique. These few qualifications aside, the work remains a pioneering work in large scale social research, from one of the field's masters.


Max Weber (Author)
Max Weber (1864-1920) was one of the founders of contemporary social science and arguably the greatest influence on the evolution of sociology—its theory and historical linkages. His work focused on the areas of the history and theology of religion, political systems, and organizational theory and behavior. He studied at the University of Heidelberg followed by the University of Berlin. After completing his advanced studies, he became professor of economics first at Freiburg University and then at the University of Heidelberg.  

Edward Shils (Translated by, Editor)
Shils, Edward
Edward Shils (1910-1995) was distinguished service professor in the Committee on Social Thought at the University of Chicago. His books include Tradition, The Intellectuals and the Powers, and Toward a General Theory of Action.

Robert J. Antonio (New Introduction by)
Robert J. Antonio is professor of sociology at the University of Kansas. He is the editor of A Marx-Weber Dialogueand Marx and Modernity. He has published essays about Weber, critical theory, and other topics in social theory in the American Journal of Sociology, the American Sociological Review, and many other journals.

Alan Sica (New Introduction by)
Alan Sica is professor of sociology and director of the Social Thought Program at Pennsylvania State University. Editor of the ASA Journal Sociological Theory from 1989 to 1994 and now of Contemporary Sociology, his books include Weber, Irrationality, and Social Order; Ideologies and the Corruption of Thought; Max Weber and the New Century; and Max Weber: A Comprehensive Bibliography.

其中一議題是Weber寫論文時,社會科學尚未被政府大量應用......
Chrysa Leventi presents her work on a guaranteed minimum income in Greece & John Hills presents his study of UK austerity policy in the session on Microsimulation for better tax benefit design at a national level

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《現代理性主義的興起──韋伯西方發展史之分析》出版

  • 《現代理性主義的興起──韋伯西方發展史之分析》,沃夫岡.施路赫特(Wolfgang Schluchter)著/林端譯


韋伯解讀西方社會的發展,得出「理性主義的興起」的主旋律,
對臺灣而言,不僅是理論的啟迪,更具有現實的意義。
韋伯一生的學術研究,志在彰顯西方現代與西方理性主義的獨特性。身為德國新康德主義與歷史主義的後學,又是社會學的開基始祖之一,他以極其繁複的論證,在西方文化內以及跨文化間的比較下,縱橫上下論古今,突顯了西方現代與西方理性主義興起的非預期性結果。
本書作者施路赫特長期擔任《韋伯全集》的主編,他藉由《韋伯全集》的重新編撰、二手文獻的大量湧現,前所未有且全面性地回歸到韋伯作品,對韋伯的學說進行整體化與脈絡化的研究,企圖為「西方現代何以成為西方現代?西方特有的理性主義何以興起?」的複雜議題尋求答案。
作者運用韋伯作品裡提煉出的「發展史」概念,整合了社會學與歷史學、共時性的與貫時性的分析,並將韋伯研究計畫與當代德語世界兩大社會思想家哈伯瑪斯 (Jürgen Habermas)與盧曼(Niklas Luhmann)的學說相提並論,將韋伯對西方現代與西方理性主義的興起之論證,定位為一種兼顧精神與物質的「進化理論的最小限度計畫」。


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●學者張旺山主講「韋伯方法論研究的意義」。
●北部場3月5日星期三在台灣大學博雅教學館102教室,主持人:莊榮輝,討論人:孫中興。
●中部場3月6日星期四在中興大學語言中心萬年廳,主持人:吳秀瑾,討論人:魯貴顯。
●南部場:3月7日星期五在成功大學國際會議廳第二演講室,主持人:何志欽,討論人:鄭志成。
以上每場均於晚間七至九時舉行。

老師:
前天跟您談的有誤。我今天重讀:
529 理想类型 Ideal Type ----新帕尔格雷夫Palgrave经济学大词典专题
作者認為Idealtype 最好翻譯成純類型---它只在individual 方面與理想有關。
他說這觀念現在經濟學不談,只社會學和政治學談它。
從它附的4部參考資料,可知〈羅謝與肯尼士〉和〈客觀性〉都有英譯,後者收入Shih 1959年編選的社會學方法論一書。
其他兩本就是Weber的兩本名著。





馬克斯.韋伯《韋伯方法論文集社會科學的與社會政策的知識之客觀性張旺山譯注,台北:聯經2013,頁163-242
1904年,馬克斯.韋伯(Max Weber, 1864-192040歲,美國之旅及寫此篇。
文末引《孚士德》1085-88行,很有意思。
Max Weber: Collected Methodological Writings
books.google.com.tw/books?isbn=0415478987
Hans Henrik Bruun, ‎Sam Whimster - 2012 - ‎HistoryWeber stresses repeatedly that acting rationally is acting (towards known or assumed ... psychology, as argued for by Wilhelm Wundt and Hugo Münsterberg.

此英文選本有些意思.....臺大圖書館有此書. 由於可全書索引 可知Goethe十來處Faust 數處
 主題索引很可參考









 翻讀張旺山的

《韋伯方法論文集》台北:聯經2013
張旺山 作為「凝結了起來的精神」的機器與機械:論韋伯的「時代診斷」的一個核心構想   載《思想史》創刊號   2013

韋伯方法論文集(平裝)

韋伯方法論文集(平裝)

博客來-韋伯方法論文集(平裝)&內容連載


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 這 次徐教授回國.沒有機會就他今年的新書Information Systems做一整天的討論.甚遺憾. 他在該書的Preface末段說:The field of Information Systems has come of age. The author's academic career has also come of age. This book presents a tribute to both.


 Information Systems: The Connection of People and Resources for Innovation - A Textbook [Hardcover]

Cheng K Hsu
  • Hardcover: 360 pages
  • Publisher: World Scientific Publishing Company (January 25, 2013)
  • Language: English
  • ISBN-10: 9814383511
他的出版社的目次等:

Information Systems: The Connection of People... - World Scientific

www.worldscientific.com/doi/pdf/10.1142/9789814383523_fmatter
 甚至有定稿: PDF]information systems the connection of people and resources




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韋伯方法論文集(平裝)

  • 定價:800

內容簡介

  韋伯─近代社會學之父
  西方現代社會學及公共行政學最重要的創始人之一
本書對於瞭解韋伯在「哲學」與「宗教社會學」方面的研究,尤其是《新教的倫理與資本主義的精神》一書的概念,具有根本的重要性。其中,韋伯對社 會科學的方法論與邏輯學的反省,值得關心社會科學與人文學科領域中哲學概念的讀者費心細讀。更重要的是,韋伯探討的主題不侷限於一般所說的「方法論」問 題,而是擴展到了知識理論與邏輯學的分析、乃至更根本的「知識」或「科學」的意義問題。
  在〈羅謝與肯尼士和歷史的國民經濟學之邏輯問題〉一文中,韋伯使用直白易懂的文字,透過實例探討許多相關連的「基本的邏輯-方法學的問題」。 〈社會科學的與社會政策的知識之“客觀性”〉則討論「理想典型式的概念建構」及社會科學與社會政策的知識之「客觀性」。對於韋伯在《新教倫理與資本主義精 神》一書中所探討的主體:「資本主義的“精神”」,是如何被建構及研究的議題,可自〈「文化科學的邏輯」這個領域的一些批判性的研究〉一文中一窺端倪。。 對於如何掌握「歷史學的對象是什麼」及「歷史學之邏輯上的本質」這類與研究工作息息相關的問題,韋伯也在本書中作了詳細討論。
  本書另外收錄韋伯對當時新康德主義法哲學家史坦樂(Rudolf Stammler, 1856-1938)及德國國民經濟學家布倫塔諾(Lujo Brentano, 1844-1931)著作的評論。其中論及韋伯的方法論思想中最重要的側面,包括如何在文化研究中對「經驗上的詮釋」或「釋義學上的詮釋」這二條進路做出 區分、「事實」與「價值」的區別、「價值關連」學說、研究客體之建構,以及「理想典型」的概念等。
  最後,在〈社會學與經濟學的諸科學之“價值中立”的意義〉一文中,韋伯提出對於「價值中立」這個概念提出最深入、細膩、且完整的分析與論述。韋 伯認為知性、倫理與心的判斷各有其必須遵守的法則,不能以知性的認知結果去譴責心的感受或倫理判斷。心和倫理判斷是不受指揮、也不能被指揮的,也由此可 知,知性的法則的侷限。這種「知、情、意」三分而各有其「固有法則性」的想法,可以說是韋伯的思想的「人學基礎」。
作者簡介
馬克斯.韋伯(Max Weber, 1864-1920)
  德國國民經濟學家、社會學家、政治家、哲學家、法學家。儘管是法學出身,一生從事的正式教職都是國民經濟學的教職,且在1903-1918的長 達15年間,韋伯還是一個學院外的學者,但韋伯的學術興趣與成就卻幾乎涵蓋了整個的文化與社會科學,其著作對後世的影響既深且廣,難以歸類。韋伯生前著作 多以文章形式發表,直到過世前不久才開始集結成書,死後由其遺孀與學者陸續集結出版。韋伯不僅是在學術上多方面具有原創性的學者,也是在政治上具有影響力 的知識份子。他除了是「理解的社會學」的建立者,並在許多社會學分殊領域(如:宗教社會學、法律社會學、支配社會學、音樂社會學等等)有重大的貢獻之外, 在經濟史、社會史乃至人文與社會科學的方法論等方面也都有重要的成果;除此之外,他對當時德國的政治體制、政策以及俄國革命的分析與論述,也都是不可忽視 的精神遺產。韋伯最著名的著作,乃是《新教的倫理與資本主義的精神》以及《經濟與社會》。本書翻譯的文章,則主要收錄於《科學學說文集》。新編的《韋伯全 集》分三部分(「著作與演說」、「書信」與「講演與筆記」),預計出版47冊,1984-2012已出版33冊。
譯注者簡介
張旺山(清華大學哲學研究所教授)
  1956年生於台北縣烏來鄉。台大哲學系、哲學研究所畢業後,先後獲教育部公費及德國自由民主黨Friedrich-Naumann- Stiftung獎學金,於德國波鴻魯爾大學(Ruhr-Uni. Bochum)哲學系攻讀博士學位,副修政治學與社會學,博士論文為《文化實在與文化科學:韋伯的方法論與價值學說》(德文)。1993年取得博士學位 後,在中研院中山人文社會科學研究所擔任一年的約聘助研究員,1994年8月起在清華大學哲學研究所任教迄今。主要興趣是政治哲學、人文與社會科學的哲 學、十九世紀德國哲學以及韋伯研究等。

目錄

譯者序
中譯本導讀
壹、本書與韋伯的《科學學說文集》
貳、關於本書之翻譯
參、韋伯與國民經濟學
肆、個別文章導論:
〈羅謝與肯尼士〉
〈弁言〉、〈客觀性〉與〈文化科學的邏輯〉
〈史坦樂之“克服”唯物論的歷史觀〉一文及其〈補遺〉
〈邊際效用學說與“心理物理學的基本法則”〉
〈“能量學的”文化理論〉
〈社會學與經濟學的諸科學之“價值中立”的意義〉
參考書目
凡例
〈羅謝與肯尼士和歷史的國民經濟學之邏輯問題〉文前說明
I.羅謝的“歷史的方法”
羅謝對科學的分類
羅謝的「發展」概念與實在的非理性
羅謝的心理學和他與古典理論的關係
知解性認識的限制與羅謝論有機體之形上學式的因果
羅謝與「實踐性的規範與理想」的問題。
II.肯尼士與「非理性」問題
行動的非理性。肯尼士著作的性格
肯尼士的“意志自由”和“自然制約性”與現代理論的關係
馮德的“創造性綜合”範疇
具體的行動之非理性與具體的自然事變之非理性
“詮釋”這個“範疇”
對這些“範疇”之各種知識理論上的探討:
(1)敏施特柏格的「“主觀化的”科學」概念
(2)西美爾的“理解”與“詮釋”
(3)歌陀的科學理論
III.肯尼士與「非理性」問題(續)
(4)李普士的“投入感受”與克羅齊的“直觀”
“顯明性”與“效力”
啟發性的“感受”與歷史學家之“暗示性”的描述
“合理”的詮釋
「因果性」範疇的雙重用法與「非理性」和「非決定論」之間的關係
肯尼士的「個體」概念;人學式的流出說
〈弁言〉
〈社會科學的與社會政策的知識之“客觀性”〉引言
I.「對理想與價值判斷進行科學的批判」的意義
「經驗知識」與「價值判斷」之原則性的區分
II.「文化科學的認知興趣」之構成性意義
文化科學中「理論的」與「歷史的」考察方式的關係
「理想典型式的概念建構」之邏輯結構
經驗性的社會知識之“客觀性”的意義
「文化價值觀念」與「文化科學的興趣」之會變遷性

〈在「文化科學的邏輯」這個領域的一些批判性的研究〉I.與愛德華.麥耶的論辯
引言
各種「偶然」概念
“自由”與“必然”
歷史學的對象。
II.歷史的因果考察中的「客觀的可能性」與「適當的起因造成」
對實在之歷史上的形塑
“客觀的可能性”理論
客觀的“可能性判斷”之“效力”的模態
「“適當的”起因造成」這個範疇
“適當的”與“偶然的”「起因造成」作為思想上的抽象
〈史坦樂之“克服”唯物論的歷史觀〉1.文前說明
2.史坦樂對歷史唯物論的陳述
3.史坦樂的“知識理論”
4. 「規則」概念之分析:
「規則」作為“規律”與作為“規範”
“準則”概念。
遊戲規則
法規則
法學的與經驗的概念。
〈《史坦樂之“克服”唯物論的歷史觀》一文之補遺〉史坦樂的“因果性與目的”
史坦樂的“社會性生活”的概念
〈邊際效用學說與“心理物理學的基本法則”〉
〈“能量學的”文化理論〉
〈社會學與經濟學的諸科學之“價值中立”的意義〉I. 學院課堂上的實踐性評價
專業訓練與講壇評價
II.「純邏輯的或經驗的知識」與「評價性判斷」作為「異質的問題領域」之原則上的分離
“價值判斷”概念
由“目的”和由「手段」所做的批判
實踐性的令式與經驗性的事實確定之異質的效力領域
倫理的規範與文化理想。「倫理」的“界限”
倫理與其他價值領域之間的緊張
「價值秩序」之間的鬥爭。經驗真理、價值理論與個人的抉擇
價值討論與價值解釋
“發展傾向”與“適應”
“進步”概念
理性的進步
「規範性事物」在經驗學科中的地位
經濟的科學性學說的課題
國家的角色
人名譯註
韋伯年表
人名索引
概念索引

Spare Rib; STUDIO VOICE

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  1. Few titles sum up an era and a movement like Spare Rib. The magazine ran from 1972 – 1993 and was the debating chamber of feminism in the UK. Today, the complete run of Spare Rib is available online for the first time.
    Explore its rich history, hear from former contributors and learn how‪#‎SpareRib‬ influenced women’s lives: http://bit.ly/1FYZiuA
    The British Library 的相片。



    Spare Rib goes digital: 21 years of radical feminist magazine put online

    The Guardian - 1 day ago

    Spare Rib was radical, a magazine of its time. From the early 1970s through 21 years and ...

  2. The British Library 的相片。
    "Funny, irreverent, intelligent and passionate, Spare Rib was a product of its time which is also somehow timeless." Why we digitised ‪#‎SpareRib‬ -http://bit.ly/1G2HcIm
    Image: Front cover Issue 1 July 1972 - Women Smiling © Angela Phillips Creative Commons Non-Commercial Licence

  3. Spare Rib goes digital: 21 years of radical feminist magazine put online

    British Library project succeeds in publishing digital archive of all 239 editions, charting grassroots movement, after callout to contributors



    Spare Rib enters the digital age: all 239 editions of the feminist magazine published online for the first time.
     Spare Rib enters the digital age. Photograph: British Library

    The project has been time-consuming, not least because of the very ethos of a publication which was run by a collective and accepted work from thousands of contributors. Copyright laws demanded that the British Library locate and gain permission from the majority of them, which was achieved after a callout to anyone who had ever had anything published in its pages and was highlighted in the Guardian.
    Polly Russell, curator of politics and public life at the British Library, said: “Funny, irreverent, intelligent and passionate, Spare Rib was a product of its time which is also somehow timeless. Detailed features of feminist issues such as domestic violence and abortion, and news stories about women from the UK and around the world sit side-by-side with articles about hair care [including the unwanted kind], how to put up a shelf and instructions on self-defence.



    Marsha Rowe (left) and Rosie Boycott, founders of the magazine.
    Pinterest
     Marsha Rowe (left) and Rosie Boycott, founders of the magazine. Photograph: Getty

    “Just as varied were the breadth of voices in the magazine; early editions of Spare Rib involved big-name contributors including Betty Friedan, Germaine Greer, Margaret Drabble and Alice Walker, but alongside these were the voices of ordinary women telling their own stories.
    “By making this part of our intellectual heritage available online, we hope it will attract new and returning generations of readers to the magazine for research, inspiration and enjoyment.”
    Until now, the magazines have been available only in paper form at the British Library’s reading rooms and a few other specialist libraries and archives.
    The new curated Spare Rib website features 300 selected pages, with a link to the website for Jisc, a charity supporting digital technologies in UK education and research, where the entire run will be available to view.



    An edition of Spare Rib.
    Pinterest
     Spare Rib was famous for its provocative covers. Photograph: Angela Phillips

    The magazine sought to provide an alternative to traditional gender roles, tackling subjects such as “liberating orgasm”, “kitchen sink racism”, anorexia and the practice of “cliterectomy”, now called female genital mutilation. Cover headlines included “Doctor’s Needles not Knitting Needles” and “Cellulie – the slimming fraud” and articles featured women such as country and western singer Tammy Wynette and US political activist Angela Davis.
    Advertisement
    With so many different threads of feminism being explored, the ensuing debates were often acrimonious, and the magazine reflected the sometimes “painful” discussions between the collective on how best to tackle issues such as sexuality and racism. It ran from 1972, with the final edition being published in 1993. 
    Marsha Rowe, co-founder of the magazine, said she was thrilled by the project: “It is as if the magazine has been given a new lease of life. By making the magazine freely available over the internet, it can encourage women round the world to act together to change and be a resource in support of their struggle for rights and freedoms.”
    Sue O’Sullivan, a former member of the collective who worked at the magazine from 1979-84, said: “Spare Rib was a highly visible part of the Women’s Liberation movement, and a tool for reaching thousands of women every single month for over 20 years. The digitised magazines will be a wonderful resource for younger historians and feminist activists, researchers and all the women (and men) who wonder what their mothers, aunts, grannies and older friends got up to all those years ago.”
    The digitisation was welcomed by Debra Ferreday, from Lancaster University’s centre of gender and women’s studies. “The importance of the Spare Rib archive can’t be overestimated. It’s a unique record of the Women’s Liberation movement which will be of huge value to feminist researchers, scholars, students and activists everywhere,” she said. 

  4. STUDIO VOICE  STUDIO VOICE(スタジオ・ボイス)

    www.studiovoice.jp/

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    STUDIO VOICE(スタジオ・ボイス)のオフィシャルサイトです。 復刊第1号(Vol.406)4/20(月)発売 特別定価580円 特集:YOUTH OF TODAY ユースとは年齢ではなく、 ...

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http://www.studiovoice.jp/#contents


今日入手復刊的日本文化雜誌《STUDIO VOICE》。許多許多年前就很熱愛這份雜誌,佩服他們的犀利和專題的紮實和深度。那個時代就喜歡買《STUDIO VOICE》、Cut、Switch這樣結合文化與(酷的)藝人,深度和態度的雜誌,每每去日本也在二手書店收了不少。當時另一個性質有點類似的雜誌就是香港「號外」雜誌,並且感嘆為何台灣沒有類似的雜誌。
當然,沒想到有機會後來去做號外的主編。不過離職一個月之後的今天,覺得還有太多做的不夠好的部分。
嗯,要往前看,創造新的可能。

張鐵志的相片。

《紐帶》:摹寫漢學生命軌跡

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南方朔:《憤怒之愛:60年代美國學生運動》自私的社會沒有幸福的個人!《"反"的政治社會學》迎接第四次台灣青年民主運動 /百年追求:臺灣民主運動的故事(3冊套書 陳翠蓮 吳乃德 胡慧玲 )

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南方朔《憤怒之愛:六〇年代美國學生運動》台北:四季,1980 ;《"反"的政治社會學》(原《近代新反抗運動》台北:九大,1987.10),台北:九大,1991

( 南方朔 (本名王杏慶):現年35歲。他是位比台灣人還台灣人的外省人。......他的理想是:幸福的台灣、光榮的中國、和平的世界。.....翻譯作品有十餘種。)
**
2014.5.18

《星期專論》自私的社會沒有幸福的個人!


◎南方朔
一九六○至一九七○年,是美國和歐洲學生運動的十年。整個歐美被學運,以及同步發展的反越戰、民權運動以及女權、環境運動等搞得天翻地覆,甚至有人說它已不是學生運動,而是學生革命。因為一九六○年代的學運非常重要,早年我還做過專業的研究,並寫了一本《憤怒之愛》的著作。
  • 南方朔(資料照,記者廖振輝攝)

60年代學運社運 獲美官方回應

由於對當年的學運和社運有全程的了解,我注意到美國這個國家有幾個了不起的品質:
(一)當學運和社運在發展時,會出現許多難以控制的情況和做出過度的反應,但本質上,美國政府仍心知肚明,學運和社運是正當的,因此學運和社運同時或稍後,美國政府都能對運動的訴求做出回應。這顯示出美國的民主體制已明白表達不滿、參與運動是民主人權的神聖成分,並樂於和運動對話,把運動當作政治與社會改革的動力。
(二)美國學運和社運後,美國的頂級名流,像洛克斐勒三世及美國銀行董事長藍德堡等人,立即發表著作,肯定學運與社運的價值。洛克斐勒三世並認為六○年代的學運和社運推動了新面向的改革,它對民主的深化影響至鉅,他甚至認為美國獨立革命替美國建立了基本的民主架構,只能算是第一次革命。六○年代的學運和社運,替美國的民權和多元民主扎根,乃是美國的第二次革命。洛克斐勒三世和藍德堡可說是美國最大的政商貴族,他們都站出來肯定學運和社運,難怪後來美國會有民權和政治社會的大改革、進步的貴族、政黨和政府,乃是使得要求改革的運動熱情不會被浪費的保證。

高尚的自私 無法增進社會公義

(三)在一九六○年代,美國也出了一位偉大的宗教領袖尼布爾(Reinhold Niebuhr),他是個基督新教牧師和神學家,同時也是個社會運動家和社會科學家。他察覺到在西方社會,以前的人都相信,一個人只要敬愛上帝,學上帝的道,多行慈善,就可以創造一個合道德的政治及社會,但他認為這只是高尚的自私、它並不能建造出一個合道德的社會,社會所需要的是公義,只有信教和慈善是不夠的。因此尼布爾寫了《道德的人和不道德的社會》,徹底改變了基督徒的信仰。他在書中表示,一個人普通的自私或高尚的自私,都無法增進社會國家的公義。一個真正的基督徒,除了必須信仰上帝的道,多行慈善外,還必須要相信公義及推廣公義。他把私人的美德拉高到了公義的層次,對美國六○年代成為進步時代居功至偉。

台灣批評太多 是假中立真反動

看過六○年代美國的學運和社運對促進美國進步的那一段歷史後,我們可以回頭來看台灣學運社運所受到的待遇。今天台灣會出現學運和社運,基本上是反映了台灣要求民主深化的呼聲,台灣式的威權民主已走到了極限,它成了台灣進一步發展的阻力,台灣式的威權民主已違背了民主互動的基本規則。台灣在制度及行為上已需要一次革命性的大改革。如果台灣是個正常國家,任何統治者都必然樂於和學運社運對話,共促改革。但台灣卻不然,統治者和統治階級完全不理睬學運社運的訴求,也不想理解運動的深層意義,他們的反應是:
—根據專制主義惡法亦法、邪惡的秩序也是秩序的邏輯,將所有的人心不滿都妖魔化和非法化。
—他們不惜發起內鬥,號召自己的徒眾發動反運動,並自稱是愛國運動,將人民自發的學運和社運說成是不愛國,愛國在台灣已成了統治者庇護自己無能濫權的最後工具。
—全世界所有促成進步的學運社運都一定會衝撞到既有的秩序,這是進步的社會成本,於是台灣的統治者和統治階級遂開始在這方面做文章,宣傳說學運社運替人們的生活帶來不便。這是一種希望煽起人們的小私利情緒來否定公義的策略。
—台灣統治階級的若干所謂名流,開始發表一些奇怪的言論,例如有名流宣稱台灣批評太多,應該每人多扮演建設性角色云云,這是一種假中立、假勵志、真反動,以軟性方式企圖打壓學運和社運;最荒唐的是,居然有名流宣稱「民主不能當飯吃」,這已是公開的反民主了,這是任何國家都不可能出現的論調,卻被台灣宣傳。

自私的商幫文化 山西幫最典型

綜合上述這些反應,我們已可看出,由於台灣學運和社運的壯大,一個新型的反改革運動已告出現,它完全沒有任何理性的基礎,遂只好在鼓勵人們的自私上下手。這是一種古代東方專制主義的復辟。中國古代的專制王權,為了壓制人民的呼聲,遂在鼓吹人們的自私上下手,一個人最好少管公共事務,多管生活的安穩,以求發財致富,一世無慮;如果行有餘力,則吃齋拜佛,多做善事,希望能有福報,這些都是惡劣的自
私或高尚的自私,它都和國家與社會的公義無關。縱使是高尚的自私,也無法造成社會與國家的進步。近代中國學術界研究古代各種商幫,發現到商人自私求利,大了後就搞政商關係,賺了大錢後就養戲子、蓋豪宅,這種自私的商幫文化,以「山西幫」最為典型,今天的郭台銘鼓吹反民主的自私價值,就是古代山西幫的再現。
因此,今天的台灣,已到了文化發展的關鍵期,統治者為了反改革,已開始鼓吹人的自私,要用自私來壓抑一個國家社會最重要的公義。這是可怕的趨勢,沒有公義,台灣會有幸福的個人嗎?
(作者南方朔為文化評論者)


**
世界性學運

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

南方朔:迎接第四次台灣青年民主運動

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

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

台灣以前有過三次青年民主大集結:

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

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

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

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

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

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

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

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

台灣的民主進入了人民作主的階段。青年的一代已開始對民主的細部問題展開思考。

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

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


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

2. 吳國精先生建議從黃仁宇的『大歷史』角度看台灣百年。

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



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

中卷我最不滿意吳兄的學問不夠紮實主見太深
書評:

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

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

王健壯:未完成的遺囑


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


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

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




百年追求:臺灣民主運動的故事(3冊套書)
作者:

陳翠蓮、吳乃德、胡慧玲

出版社:衛城出版
出版日期:2013

一八九五 到 一九八六
這是一份臺灣的民主履歷
三個世代追尋的民主之花

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

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

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

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

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

導言:我們共同的故事

吳乃德

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

目錄
導言 我們共同的故事
卷一 自治的夢想
第一章 帝都的洗禮
第二章 抵抗的策略
第三章 在團結的旗幟下
第四章 想像文明臺灣
第五章 統治者的對策
第六章 走向階級運動
第七章 一網打盡
第八章 戰爭陰影下
第九章 迎接新時代
第十章 祖國來的殖民者
第十一章 全島起義
第十二章 夢碎
卷二 自由的挫敗
第一章 意外反叛者
第二章 衝撞黨國言論
第三章 燃燒的民主思潮
第四章 獨裁正面總攻擊
第五章 組黨之夢
第六章 啟動組黨
第七章 民主星火彈滅
第八章 明天過後
第九章 文化禁錮
第十章 青春火燄
第十一章 預告民主運動
卷三 民主的浪潮
第一章 苦悶的臺灣
第二章 蔣氏父子
第三章 回歸本土
第四章 選舉萬歲
第五章 講沒完的政見
第六章 沒有黨名的黨
第七章 大逮捕
第八章 大審判
第九章 血雨腥風
第十章 黨外再起
第十一章 狂飆年代
第十二章 我思故你在
第十三章 組黨
故事的結尾:人的意志、人的價值
主要參考書目
臺灣民主百年大事記
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Leonard Bernstein 1918-1990

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"The gift of the imagination is by no means an exclusive property of an artist; it is a gift we all share; to some degree or other all of us, all of you, are endowed with the powers of fantasy. The dullest of dullards among us has the gift of dreams at night – visions and yearnings and hopes. Everyone can also think; it is the quality of thought that makes the difference – not just the quality of logical thinking, but of imaginative thinking."
-Leonard Bernstein, Commencement Speech at Johns Hopkins University, May 30, 1980
(Photo credit James Lightner)

Leonard Bernstein 的相片。




On this day in 1971, Leonard Bernstein conducted his one-thousandth New York Philharmonic concert--a historic milestone. For this occasion, Bernstein conducted ‪#‎Mahler‬'s "Resurrection" Symphony No. 2.
Bernstein dedicated the concert “with affection and gratitude to all my Philharmonic colleagues, onstage and off, with whom I have shared three decades of joyful ‪#‎music‬-making."
The New York Times critic James R. Oestreich wrote: "As the two timpanists whaled away in the clamor of the finale, the head of a timpani stick flew off and sailed into the audience. That added bit of fireworks seemed wholly of a piece with the choral and orchestral tumult conjured by a master, and this remains, of the many candidates, my favorite moment from the ‪#‎Bernstein‬ years."
We share this photo of Maestro Bernstein rehearsing the New York Philharmonic:

On this day in 1971, Leonard Bernstein conducted his one-thousandth New York Philharmonic concert--a historic milestone.  For this occasion, Bernstein conducted #Mahler's "Resurrection" Symphony No. 2.  Bernstein dedicated the concert “with affection and gratitude to all my Philharmonic colleagues, onstage and off, with whom I have shared three decades of joyful #music-making."    The New York Times critic James R. Oestreich wrote: "As the two timpanists whaled away in the clamor of the finale, the head of a timpani stick flew off and sailed into the audience. That added bit of fireworks seemed wholly of a piece with the choral and orchestral tumult conjured by a master, and this remains, of the many candidates, my favorite moment from the #Bernstein years."  We share this photo of Maestro Bernstein rehearsing the New York Philharmonic:



2013.10.18上周同學小聚。吳國維兄還在談他搜集的許多Leonard Bernstein"演奏".....
今天在紐約時報看到他的訃聞, 才發現還沒為他集些資料。
90年代台灣有些他的訪談等書的翻譯, 現在成為"藏"書。
我也有,這本傳記:

Leonard Bernstein - Humphrey Burton - Google Books

books.google.com › ... › Composers & Musicians
The definitive biography of one of the most influential, flamboyant, and multifaceted musical talents of the 20th century, a man whose concert hall performances ...

Leonard Bernstein, 72, Music's Monarch, Dies


LEAD: Leonard Bernstein, one of the most prodigally talented and successful musicians in American history, died yesterday evening at his apartment at the Dakota on the Upper West Side of Manhattan. He was 72 years old.
Leonard Bernstein, one of the most prodigally talented and successful musicians in American history, died yesterday evening at his apartment at the Dakota on the Upper West Side of Manhattan. He was 72 years old.
Mr. Bernstein's spokeswoman, Margaret Carson, said he died of a heart attack caused by progressive lung failure.
His death followed by five days the announcement that Mr. Bernstein would retire from performing because of health problems. A heavy smoker for most of his life, he had been suffering from emphysema, pulmonary infections and a pleural tumor.
In recent months, Mr. Bernstein had canceled concerts in Japan and in Charleston, S.C., and a tour of Europe. He conducted his final performance at Tanglewood on Aug. 19, when he led the Boston Symphony in Britten's ''Four Sea Interludes'' and the Beethoven Seventh Symphony.

'Fated for Success'
Long before Mr. Bernstein became, at the age of 40, the youngest music director ever engaged by the New York Philharmonic, the drama critic Harold Clurman sized up the flamboyant musician's future: ''Lenny is hopelessly fated for success.''
It was Mr. Bernstein's fate to be far more than routinely successful, however. His fast-burning energies, his bewildering versatility and his profuse gifts for both music and theater coalesced to make him a high-profile figure in a dozen fields, among them symphonic music, Broadway musicals, the ballet, films and television.
Still, his hydra-headed success did not please all his critics. While he was music director of the Philharmonic from 1959 to 1969, some friends and critics urged him to quit and compose theater music full time. Many regarded him as potentially the savior of the American musical, to which he contributed scores for ''On the Town,''''Wonderful Town,''''Candide'' and ''West Side Story.''

Determining His Focus
At the same time, others were deploring his continued activity in such fields, contending that to be a successful leader of a major orchestra he would have to focus on conducting.
Still other observers of the Bernstein phenomenon wished he would concentrate on the ballet, for which he had shown an affinity (''Fancy Free,''''Facsimile''), or on opera and operetta (''Trouble in Tahiti,''''Candide'').
Or on musical education. His television programs on such subjects as conducting, symphonic music and jazz fascinated millions when he appeared on ''Omnibus,'' the cultural series, and later as star of the Philharmonic's televised Young People's Concerts.
And still others, a loyal few, counseled Mr. Bernstein to throw it all over and compose more serious symphonic scores. His gifts along this line were apparent in such works as his Symphony No. 1 (''Jeremiah'') of 1942, Symphony No. 2 (''The Age of Anxiety'') of 1949 and Symphony No. 3 (''Kaddish'') of 1963. He played the piano well enough to have made a separate career as a virtuoso. He was a facile poet. He wrote several books, including the popular ''The Joy of Music'' (1959). He was a teacher of rare communicative talent, as television audiences discovered.
But Mr. Bernstein resolutely resisted pressure to restrict his activities. During his decade as the Philharmonic's musical director, he grew steadily as an interpreter and as a technician.
His performances of Mahler's symphonies were almost universally conceded to be of the highest quality, and his recordings for Columbia Records of the complete set not only constituted the first such integral collection but also continue to be regarded as among the most idiomatic Mahler performances available. His obsession with that composer, in fact, has been credited with generating the Mahler boom in America.
His conducting of works by Classical composers like Mozart and Haydn, often derided in his earlier days, attracted more and more praise as his career unfolded and he could relax a little. ''There is nothing Lenny can't do supremely well,'' an acquaintance remarked several years ago, ''if he doesn't try too hard.''
The future Renaissance man of American music was born in Lawrence, Mass., on Aug. 25, 1918, the son of Samuel and Jennie Resnick Bernstein. His father, a beauty-supplies jobber who had come to the United States from Russia as a boy, wanted Leonard to take over the business when he grew up. For many years the father resisted his son's intention to be a musician.
The stories of how he discovered music became encrusted with legend over the years, but all sources agree he was a prodigy. Mr. Bernstein's own version was that when he was 10 years old his Aunt Clara, who was in the middle of divorce proceedings, sent her upright piano to the Bernstein home to be stored. The child looked at it, hit the keys and cried: ''Ma, I want lessons!''
Until he was 16, by his own testimony, he had never heard a live symphony orchestra, a late start for any musician, let alone a future musical director of the Philharmonic. Virgil Thomson, while music critic of The New York Herald Tribune in the 1940's, commented on this:
''Whether Bernstein will become in time a traditional conductor or a highly personal one is not easy to prophesy. He is a consecrated character, and his culture is considerable. It might just come about, though, that, having to learn the classic repertory the hard way, which is to say after 15, he would throw his cultural beginnings away and build toward success on a sheer talent for animation and personal projection. I must say he worries us all a little bit.'' These themes - the concern over Mr. Bernstein's ''talent for animation'' and over his penchant for ''personal projection'' - were to haunt the musician through much of his career.

Economy of Motion Not His Virtue
As for ''animation,'' that theme tended to dominate much of the criticism of Mr. Bernstein as a conductor, particularly in his youthful days. Although he studied conducting in Philadelphia at the Curtis Institute with Fritz Reiner, whose precise but tiny beat was a trademark of his work, Mr. Bernstein's own exuberant podium style seemed modeled more on that of Serge Koussevitzky, the Boston Symphony's music director. The neophyte maestro churned his arms about in accordance with some inner message, largely ignoring the clear semaphoric techniques described in textbooks. Often, in moments of excitement, he would leave the podium entirely, rising like a rocket, arms flung aloft in indication of triumphal climax.
So animated, in fact, was Mr. Bernstein's conducting style at this point in his career that it could cause problems. At his first rehearsal for a guest appearance with the St. Louis Symphony, his initial downbeat so startled the musicians that they simply looked in amazement and made no sound.
Like another prodigally gifted American artist, George Gershwin, Mr. Bernstein divided his affections between the ''serious'' European tradition of concert music and the ''popular'' American brand. Like Gershwin, he was at home in jazz, boogie-woogie and the cliches of Tin Pan Alley, but he far outstripped his predecessor in general musical culture.
In many aspects of his life and career, Mr. Bernstein was an embracer of diversity. The son of Jewish immigrants, he retained a lifelong respect for Hebrew and Jewish culture. His ''Jeremiah'' and ''Kaddish'' symphonies and several other works were founded on the Old Testament. But he also acquired a deep respect for Roman Catholicism, which was reflected in his ''Mass,'' the 1971 work he wrote for the opening of the John F. Kennedy Center for the Performing Arts in Washington.
A similar catholicity was reflected throughout his music. His choral compositions include not only songs in Hebrew but also ''Harvard Songs: Dedication and Lonely Men of Harvard.'' He was graduated in 1939 from Harvard, where he had studied composition with Walter Piston and Edward Burlingame Hill.
A sense of his origins, however, remained strong. Koussevitzky proclaimed him a genius and probable future musical director of the Boston Symphony - ''The boy is a new Koussevitzky, a reincarnation!'' - but the older conductor urged Mr. Bernstein to improve his chances for success by changing his name. The young musician replied: ''I'll do it as Bernstein or not at all!''
He pronounced the name in the German way, as BERN-stine, and could no more abide the pronounciation BERN-steen than he could enjoy being called ''Lenny'' by casual acquaintances.
In a sense, he was in lifelong flight from Lenny Bernstein, from being treated as the raffish ''ordinary guy'' that the nickname seemed to suggest. Although some elder members of the New York Philharmonic never stopped calling him Lenny, Mr. Bernstein lived down the nickname, and in his late years heard himself addressed almost reverentially as ''Maestro'' in the world's music capitals. The man who had been patronized in print for many years as ''Glamourpuss'' or ''Wunderkind of the Western World'' became a favorite of Vienna both as conductor and as accompanist for such lieder specialists as Dietrich Fischer-Dieskau and Christa Ludwig.
Fame brought the usual honorary degrees, and honors far beyond the usual. He not only conducted at La Scala in Milan, at the Metropolitan Opera and at the Staatsoper in Vienna, but he was also invited by Harvard in 1973 to lecture, as Charles Eliot Norton Professor of History, on linguistics as applied to musical analysis. The distinction had previously been conferred on Robert Frost, T. S. Eliot, Igor Stravinsky, Aaron Copland and Paul Hindemith. Typically, Mr. Bernstein's Harvard performance was greeted with a mingling of critical raves and boos.
Harvard played an important part in Mr. Bernstein's rise, providing a pinch of Brahminism. The boy whose bar mitzvah was at Temple Mishkan Tefila had gone on to the elite Boston Latin School, and graduated cum laude from Harvard with a B.A.
During his last semester at Harvard, he organized and led a performance of Marc Blitzstein's ''Cradle Will Rock,'' a left-wing musical that had been banned in Massachusetts, but that could not be proscribed within the academic walls. It was not his first fling as a producer. At age 16 he had starred in his own production of ''Carmen'' at a summer camp, playing the title role alluringly in wig and black gown.
It was as a result of another schoolboy production, at Camp Onota in the Berkshires, that he met Adolph Green, with whom he later collaborated in several Broadway musicals. Mr. Bernstein was a camp counselor and theater director and Mr. Green was in ''The Pirates of Penzance.''

An Unlikely Start For a Conductor
Subsequently, when Mr. Bernstein was out of a job in New York City, he looked up Mr. Green, moved in with him in his East Ninth Street apartment in Greenwich Village, and began playing the piano at the Village Vanguard for a group called the Revuers. The ensemble included, besides Mr. Green, his musical comedy collaborator Betty Comden and the actress Judy Holliday.
Mr. Bernstein met Aaron Copland at Harvard in 1937, and through him came to know two other aspiring composers, Roy Harris and William Schuman. Admiring his intuitive grasp of modern music and his phenomenal skill at playing complex orchestral scores on the piano, the composers agreed that Mr. Bernstein should become a conductor. Dimitri Mitropoulos, the New York Philharmonic's music director, met Mr. Bernstein in 1938 and added to the consensus.
At that point, Mr. Bernstein ''didn't know a baton from a tree trunk,'' as he later put it.
Nevertheless, he had made up his mind. Because he had applied at the wrong time of the year and was turned down by the Juilliard School, he went to Philadelphia to audition for Reiner's conducting class at the Curtis Institute. The Hungarian maestro opened a score in the middle, put it on the piano and told Mr. Bernstein to play until he could recognize the piece.
The aspiring conductor, who was having difficulty seeing the music because he was suffering from an allergic reaction to Copland's cat, nevertheless discerned that the work was the ''Academic Festival'' Overture of Brahms. He was accepted.
At Curtis, he studied conducting with Reiner and piano with Isabella Vengerova. His earlier piano teachers included a neighbor, Freida Karp, Helen Coates and Heinrich Gebhard. In 1940 he went to Tanglewood, where he studied at the Berkshire Music Center with Koussevitzky, who quickly adopted Mr. Bernstein and called him Lenyushka.
In later years, Mr. Bernstein prided himself on having retained the respect and friendship of both Koussevitzky and Reiner, who held virtually opposing ideas about what a conductor should do and how he should do it. But the story as the famously irascible Reiner told it to acquaintances was different: ''He didn't leave me for Koussevitzky - I threw him out.''
In truth, not all of Mr. Bernstein's associations with elder colleagues were warm and collegial. In John Gruen's biographical ''The Private World of Leonard Bernstein,'' published in 1968, Mr. Bernstein asserted that Artur Rodzinski had once pinned him against the wall of a dressing room, trying to choke him because of jealousy over the young assistant's flair for publicity. But according to Mr. Bernstein, Rodzinski had by this time become somewhat peculiar: he always carried a gun in his back pocket, for instance, for psychological support when he faced the orchestra.

A Boycott Causes Stumble at the Start
It was Rodzinski, however, who gave Mr. Bernstein his chance at conducting the New York Philharmonic at a lean time when the young man was scraping along as a musician in New York. When he was 22, Mr. Bernstein had been offered a guest-conducting engagement with the Boston Symphony by Koussevitzky but had been forced to refuse. The American Federation of Musicians, to which Mr. Bernstein belonged, advised its members to boycott the Boston Symphony, the last of the major orchestras remaining unorganized. Mr. Bernstein tried to mark time by opening a teaching studio in Boston, he later recalled, but ''nobody came.''
That fall, he moved to New York, where he fared hardly better.
Eventually he got a $25-a-week job at Harms-Remick, a music-publishing house, where his duties included listening to Coleman Hawkins and Earl (Fatha) Hines, and getting their jazz down on paper. He also wrote popular arrangements under the name of Lenny Amber (Bernstein in English).
The Philharmonic offer by Rodzinski came without warning. Rodzinski had heard Mr. Bernstein conduct a rehearsal at Tanglewood, remembered the young man, and after an hour's discussion, had hired him as an assistant for the 1943-44 season.
Assistant conductors by tradition do a great deal of assisting, but not much conducting. Destiny had other plans for Leonard Bernstein, however, and when opportunity knocked one Sunday afternoon in 1943, he was ready to open the door. On Nov. 14, Bruno Walter fell ill and could not conduct the Philharmonic. The young assistant took over his program (works by Schumann, Rosza, Strauss and Wagner) and achieved a sensational success. Because the concert was broadcast over radio and a review appeared on page 1 of The New York Times the next day, the name of Leonard Bernstein suddenly became known throughout the country.
''Typical Lenny luck,'' some longtime Bernstein observers said. But Mr. Bernstein had given luck a hand: Knowing that Walter was not feeling well, he had studied the program's scores especially hard, just in case. At 25, he had become a somebody in the symphonic world.
After that break, though he was still more then a decade away from becoming music director of the Philharmonic, Mr. Bernstein began to consolidate his gains. He put in three exciting but financially unproductive seasons (1945-48) as conductor of the New York City Symphony. He received no fee, and neither did the soloists.

In 40's, Celebrity And Back Muscles
In the late 1940's Mr. Bernstein bloomed as a public figure. He came to be a familiar sight at the Russian Tea Room, at Lindy's and at Reuben's. Columnists reported that he liked boogie-woogie, the rumba and the conga, and that female admirers swooned when he stepped on the podium.
Tallulah Bankhead once watched Mr. Bernstein conduct a Tanglewood rehearsal and said to him in her husky baritone: ''Darling, I have gone mad over your back muscles. You must come and have dinner with me.''
Just about everyone in those years wanted Mr. Bernstein. The United States Chamber of Commerce named him as one of the outstanding men of the year, along with Nelson A. Rockefeller and John Hersey. His fans, it was reported, ripped at his clothes and attacked him in his car. Paramount tested him for the title part in a film about Tchaikovsky, but he was turned down, according to the conductor, because ''my ears were too big.''
Mr. Bernstein, in fact, looked the part of a pop idol with his strong profile and wavy black hair.
Musically, his career was on the upswing, too. In 1947 he conducted a complete Boston Symphony concert as a guest, the first time in Koussevitzky's 22-year reign that any other conductor had been permitted to do that in Carnegie Hall. He served as musical adviser of the Israel Philharmonic Symphonic Orchestra for the 1948-49 season. He was a member of the Berkshire Music Center from 1948 and head of its conducting department from 1951. He served as professor of music at Brandeis University from 1951 to 1956.
In 1953 Mr. Bernstein became the first American-born conductor to be engaged by La Scala in Milan, Italy's foremost opera house, leading a performance of Cherubini's ''Medea'' with Maria Callas in the title role.
During the six-year tenure of Mitropoulos as music director of the Philharmonic, beginning in the 1951-52 season, Mr. Bernstein was a frequent guest conductor. In 1957-58, the two worked jointly as principal conductors of the orchestra. A year later, Mr. Bernstein was named music director.
The New York appointment would have been a severe test of any conductor. The orchestra's quality had gone downhill, its repertory had stagnated and audiences had fallen off. Orchestra morale was low and still sinking. Mr. Bernstein leaped in with his customary brio and showmanship and his willingness to try new ideas.
He designated the Thursday evening concerts as ''Previews,'' at which he spoke informally to the audience about the music. He built his season around themes like ''Schumann and the Romantic Movement'' and ''Keys to the 20th Century.'' Strange-sounding works by avant-garde composers like Elliott Carter, Milton Babbitt, Karlheinz Stockhausen, Gunther Schuller and John Cage began to infiltrate the Philharmonic's programs. He took the orchestra on tours to Latin America, Europe, Japan, Alaska and Canada.
It sometimes seemed that Mr. Bernstein could not possibly squeeze in one more engagement, one more social appearance. During one particularly busy stretch, he conducted 25 concerts in 28 days. His conducting style accurately reflected his breathless race through life. Although in later years he toned down his choreographic manner, he remained one of the more consistently elevating conductors of his time. That irrepressible buoyancy sometimes led to trouble: in 1982 he fell off the stand in Houston while conducting Tchaikovsky and two years later encored that frightening stunt while leading the Vienna Philharmonic in Chicago. The worst injury he suffered, however, was a bruise from a medallion he wore around his neck.
Throughout his Philharmonic years, he kept his ties with Broadway and the show-business friends he had made before he became an internationally adulated maestro. He had already written music for the musical version of ''Peter Pan'' (1950) and ''The Lark,'' a play starring Julie Harris (1955). For Hollywood, he wrote the score to ''On the Waterfront'' (1954). Musical successes on the stage followed: ''On the Town'' (1944), ''Wonderful Town'' (1953), ''Candide'' (1956) and ''West Side Story'' (1957). Several of the stage works continue to thrive: in 1985 Mr. Bernstein conducted a quasi-operatic version of ''West Side Story'' (the cast included Kiri Te Kanawa and Jose Carreras) that pleased him immensely and introduced the work to a new generation of listeners.
Then there were the ballets ''Fancy Free'' (1944) and ''Facsimile'' (1946); the song cycles ''I Hate Music'' and ''La Bonne Cuisine''; the ''Jeremiah'' and ''Age of Anxiety'' symphonies; the one-act opera ''Trouble in Tahiti''; Serenade for violin and string orchestra with percussion; the Symphony No. 3 (''Kaddish''), and the ''Chichester Psalms.''
In the years after he had left the music directorship of the Philharmonic to become the orchestra's laureate conductor, he returned to the theater. He created the ecumenical and controversial ''Mass'' and, with Jerome Robbins, the ballet ''Dybbuk,'' staged by the New York City Ballet in 1974.
Mr. Bernstein's life took a turn toward greater stability in 1951 when he married the actress Felicia Montealegre Cohn. Her American father had been head of the American Smelting and Refining Company in Chile and she had been sent to New York City to study the piano. After several years of off-and-on romance, they were married in Boston. They had three children: a daughter, Jamie, a son, Alexander Serge (named for Serge Koussevitzky) and a second daughter, Nina.
In addition to his children, who all live in New York City, and his mother, of Brookline, Mass., Mr. Bernstein is survived by a sister, Shirley Bernstein of New York City, and a brother, Burton, of Bridgewater, Conn.
Mr. Bernstein and his wife began a ''trial separation'' after 25 years of marriage. They continued, however, to appear together in concerts, one such occasion being a program in tribute to Alice Tully at Alice Tully Hall, where Mr. Bernstein conducted Sir William Walton's ''Facade'' with his wife as one of the two narrators. Mrs. Bernstein died in 1978 after a long illness.
After leaving the music director's post with the Philharmonic in 1969, Mr. Bernstein hardly curtailed his frantic activities. He continued to guest-conduct, to record for Columbia Records, to conduct at the Metropolitan Opera and to play the piano for lieder recitalists. His company, Amberson Productions, which he had formed with his friend Schuyler G. Chapin to handle his diverse interests, expanded into the new field of videocassettes.
Mr. Bernstein, a longtime Democrat and liberal, took a deep interest in politics and was a friend of the Kennedys. His ''Mass'' was dedicated to John F. Kennedy. Among guests at fund-raising parties in his apartment during the late 1960's, one could find some of the leading civil-rights advocates of the period, a form of hospitality that inspired the writer Tom Wolfe to coin the term ''radical chic.'' In his book ''Radical Chic & Mau-Mauing the Flak Catchers,'' Mr. Wolfe described a fund-raising party that Mr. Bernstein gave for the Black Panthers.
During Mr. Bernstein's Philharmonic decade, the orchestra engaged its first black member, the violinist Sanford Allen.
He continued composing, if only in spurts. Late works included ''Jubilee Games,''''Arias and Barcarolles,''''Halil'' and a sequel to his opera ''Trouble in Tahiti'' entitled ''A Quiet Place.'' After its premiere in Houston in 1983, ''A Quiet Place'' was produced at the Vienna State Opera, La Scala and the Kennedy Center in Washington.
Almost to the time of his death, Mr. Bernstein carried on a bewildering variety of activities, rushing about the world with the same tireless abandon that had characterized his life in the days when he was churning out a hit a season on Broadway.
But Broadway had changed by the time Mr. Bernstein's final theatrical score reached the Mark Hellinger Theater in March 1976. The long-awaited work that he and Alan Jay Lerner had composed, ''1600 Pennsylvania Avenue,'' closed after seven performances.
He turned up in Israel, where the Israel Philharmonic was putting on a Leonard Bernstein retrospective festival to celebrate the 30th anniversary of his debut on an Israeli podium. During a two-week period, his music was heard in concert halls, theaters, movie houses and other auditoriums all over the country. In 1988, when he was 70 years old, Mr. Bernstein was named laureate conductor of the Israeli orchestra. That birthday year brought honors from all directions, but none seemed to gratify him more than the celebration staged for him at the Tanglewood Festival, scene of so many triumphs early in his career. On Nov. 14, 1988, to mark the 45th anniversary of his Philharmonic conducting debut, he led the orchestra in an all-Bernstein concert.
Laurel wreaths continued to shower on him in his last decades. Elected to the American Academy and Institute of Arts and Letters in 1982, he was awarded the Academy's Gold Medal three years later. The city of Milan, home of La Scala, also gave him its Gold Medal.
A discordant note sounded in 1989 when he refused to accept a medal from the Bush Administration, apparently as a protest against what he regarded as censorship of an AIDS exhibition by the National Endowment for the Arts. Like many other artists and public figures, he contributed his services at concerts to benefit the fight against AIDS.
Mr. Bernstein's private life, long the subject of rumors in the musical world, became an open book in 1987 when his homosexuality was brought to wide public attention by Joan Peyser's ''Bernstein: A Biography.''

As Age Advances, The Pace Does Too
Far from slowing down as age encroached, Mr. Bernstein seemed to accelerate. Last Christmas he led a performance of Beethoven's Ninth Symphony in Berlin to celebrate the crumbling of the wall between East and West Germany. With typical flair, he substituted the word ''Freiheit'' (''Freedom'') for the poet's ''Freude'' (''Joy'') in the choral finale. The East German Government bestowed on him its Star of People's Friendship Medal.
Although he had reportedly refused an offer to return to the New York Philharmonic as music director, he was scheduled to conduct six weeks of concerts for the next few seasons. Before collapsing from exhaustion this year in Japan, Mr. Bernstein had taken part in the Pacific Music Festival.
Late in his extraordinarily restless and fruitful life, Mr. Bernstein defended his early decision to spread himself over as many fields of endeavor as he could master. ''I don't want to spend my life, as Toscanini did, studying and restudying the same 50 pieces of music,'' he wrote in The Times.
''It would,'' he continued, ''bore me to death. I want to conduct. I want to play the piano. I want to write for Hollywood. I want to write symphonic music. I want to keep on trying to be, in the full sense of that wonderful word, a musician. I also want to teach. I want to write books and poetry. And I think I can still do justice to them all.''
Photos: Leonard Bernstein (Steve J. Sherman, 1988) (pg. A1); Leonard Bernstein conducting the New York Philharmonic during his farewell concert as he retired as music director in 1969. (Michael Evans/The New York Times); Mr. Bernstein at the keyboard in 1945. (Graphic House); Leonard Bernstein instructing singers from the cast of ''West Side Story'' in 1957. At the piano was Stephen Sondheim, who was co-lyricist. (Friedman-Abeles) (pg. B6)

瘂弦:李金髮先生答我二十問 2007;《李金髮評傳》(楊允達等)/當代世界詩抄

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不用奇怪 此書之出版單位


愛讀書 《當代世界詩抄》
愛讀書《當代世界詩抄》

米華殊等著,陳黎、張芬齡譯,花蓮縣文化局出版
環 遊世界的方式,也有如此奢華的一種——搭乘各國詩人作品如同魔毯,隨時起飛。由陳黎和張芬齡合譯的《當代世界詩抄》,便提供一張這樣的登機券。兩人動土於 1970年代末的譯詩工程,從資料蒐得不易的彼時,多年來已甚有規模地譯出聶魯達與辛波絲卡等多位的詩集。《當代世界詩抄》則收錄來自32國的69位詩 人,共333首詩作。最長者為波蘭詩人米華殊(Czeslaw Milosz, 1911-2004),最年輕者為冰島詩人布拉奇(Steinar Bragi, 1975-),其中,不乏數屆諾貝爾文學獎得主如布洛斯基或勒.克萊喬,更有多位呼聲頗高者,如博納富瓦、歐爾、阿都尼斯、高銀……補齊了台灣讀者相對罕 見的異國詩風景。做為一名優秀的詩人,陳黎視翻譯為「閱讀與創作兩者的替代」,在後記〈甜蜜的辛苦〉中自剖「翻譯像捕蝶」,同時,「翻譯也像遊戲」,秀異 的詩作,總靜靜滲透著那雙企圖「把自己閱讀到的感動具體、清楚地傳遞給別人」的眼睛。 (Radiohead)


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台灣在1986和1994 出版過兩本《李金髮評傳》《死神唇邊的笑-傳李金髮評》

應把他當作一個人來談 而不是法國人自作多情的以為是翻譯其象徵派詩之詩人

我只讀過楊允達《李金髮評傳》 覺得它雖然可能是法國的博士論文 不過可以速讀之

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【詩路典藏作品選】棄婦 / 李金髮長髮披遍我兩眼之前,
遂隔斷了一切羞惡之疾視,
與鮮血之急流,枯骨之沉睡。
黑夜與蚊蟲聯步徐來,
越此短牆之角,
狂呼在我清白之耳後,
如荒野狂風怒號:
戰慄了無數游牧。
靠一根草兒,與上帝之靈往返在空谷裏。
我的哀戚惟遊蜂之腦能深印著;
或與山泉長瀉在懸崖,
然後隨紅葉而俱去。
棄婦之隱憂堆積在動作上,
夕陽之火不能把時間之煩悶
化成灰燼,從煙突裏飛去,
長染在游鴨之羽,
將同樓止於海嘯之石上,
靜聽舟子之歌。
衰老的裙裾發出哀吟,
徜徉之邱墓之側,
永無熱淚,
點滴在草地
為世界之裝飾。

-------------------------------------
◎關於李金髮
  李金髮,又名淑良、遇安,廣東梅縣人,一九○○年生,一九七六年辭世。小學畢業後曾到香港羅馬學院學習,一九一九年赴法國留學,在巴黎美術大學學習雕 塑。一九二五年回國,歷任南京美術學校校長,中央大學副教授,杭州西湖藝術院教授,抗戰前,赴廣州,任廣州市立美術專科學校校長,一九三八年廣州淪陷,流 亡越南,一九四○年由越返回韶關,創辦《文壇》雜誌,一九四一年到重慶,一九四二年任駐伊拉克大使館代辦等職,一九五一年後,一直寄居美國,在紐澤西開辦 農場,過著退隱的生活。著有詩集《微雨》、《食客與凶年》、《為幸福而歌》及論著《法國文學ABC》等多種。


生平簡介

李金髮(1900—1976),生於廣東省梅縣,原名李權興,別 名李遇安,李金髮以外之筆名還有李淑良、金髮、今發、藍帝、肩闊、彈丸、瓶內野蛟三郎、片山潛雀等。早年就讀於梅州中學並曾到香港求學,1919年到法國 留學,1921年就讀於第戎美術專門學校和巴黎帝國美術學校,學習雕塑和油畫,1920年受法國象徵主義影響,開始創作新詩。1925年回國,先後在上海 美專、杭州國立藝術院及中山大學教授美術,曾在《語絲》、《小說月報》及《文學週報》等刊物發表詩作。1927年於武漢國民政府任外交部秘書,1928至 1937年主編《美育雜誌》,1928至1932年在國立杭州藝術專科學校任教,1936年任廣州市立美術學校校長,1941年與詩人盧森創辦《文 壇》,1945年任駐伊朗大使館一等秘書,代理館務,1946至1950年任駐伊拉克公使。1951年移居美國,1976年在美國病逝。

參考資料

  • 李金髮《李金髮回憶錄》,上海:東方出版中心,1998
  • 楊允達《李金髮評傳》,台北:幼獅文化事業公司,1986
  • 陳厚誠《死神唇邊的笑:李金髮傳》,台北:業強出版社,1994
  • 唐旭編著《李金髮硏究集萃》,香港:天馬圖書有限公司,2003
*****
2015.5.30


瘂弦


李金髮先生答我二十問

寫在前面的幾句話
早在七十年代初,我曾撰文對李金髮先生的作品作一回顧和評介,發表後,很多朋友都提出修正和補充的資料。因此,更增加了我對李氏作品繼續發掘研究的興趣。一九七四年夏天,夏志清先生來信提及李先生,說他在學生時代與李先生的長公子是同班同學,據云當時李家正在美國紐澤西開農場,不過,這也是幾十年前舊事了,時隔多年,是否另有遷移就不得而知了。於是,經我多方打聽,終於在一個朋友處得到了李先生十五年前的舊址,就試投了一封信去,其實也不抱什麼希望。誰知道,居然來了回信,實令我喜出望外。李先生的回信是這樣的:


瘂弦先生:

先生遠道來書,十分感激。髮自前年退休後,已少作品問世,雖偶然在香港報紙寫些小品,那亦是舊作重訂,因年紀日大,對寫作已不能運用裕如,故以閱讀為多,不常提筆。想不到你竟對我這七十四高齡的老朽發生興趣,真是廿一世紀的奇蹟。

你這名字很耳熟,好像十多前見過你的文章,不知是《蕉風》或香港的《文壇》,因為名字很特別,所以,不易忘記,如今,想你已是著作等身子。歲月久了,人的經驗隨之增進,你必有大大的成就吧!人到晚年,其實時間很多,但反而不敢做詩,再者,體裁也有問題,故不便輕易塗抹,暇時,僅看看書報,反而輕鬆,容易過日子,現在很少與文藝界來往,在紐約,寫作的人是鳳毛麟角。
信末自署「髮翁」

從這以後,又連續通了好幾封信,最初,我發覺他對臺灣的了解非常有限,對我們的文藝界也很陌生,因此,當我向他提出書面訪問的請求時:他一度頗為躊躇,幾封信過後,他終於答應了下來,不但對我在信上提出的二十個問題一一作答,並且還寄來了許多珍貴的照片。

在這二十個問題中,我也藉著問話希望引發他多談談他的詩觀,尤其對當前我國現代詩的看法,但是,他似乎不願多談,令人不免有些失望。美國詩人佛洛斯特說:「年輕時我不敢作急進派,恐怕年老時我會保守起來。」難道髮翁也有這樣的感喟嗎?

關於李先生的作品資料,承友人的幫助,一年來續有發現。夏志清先生為我影印了《為幸福而歌》(一九二九年上海商務印書館「文學研究會」出版)的全部,花了他不少的時間;黃伯飛先生查了幾家圖書館,也為我尋到《異國情調》(詩、散文、小說合集,一九四二年十二月重慶商務印書館行印);婁子匡先生更寄贈了李主編的一本民謠集《嶺南戀歌》(一九七○年臺北東方文化書局重印) ;傳敏先生將珍藏多年的《為幸福而歌》初版本也慨允借閱,這些書就連李先生自己都沒有了,實在珍貴之至“另外,葉珊(楊牧)、唐文標、劉紹銘、翱翱、王潤華、袁則難、董橋、譚雅倫、莊因等先生也提供了很多資料及補充意見,在此一併致謝。

李先生的著作,重要的,差不多都已經找到了,詩集《食客與凶年》(一九二七),他自己存有的。比較難找的是北新書局出版的《微雨》(一九二五) ,美國國會圖書館和倫敦幾個重要的圖書館都託人問過了,均無所獲,目前,我仍在繼續搜尋中,希望和我同樣具有「歷史癖」的同好,提供卓見及線索,使李金髮先生作品的整理工作,日臻完善,將來如能出一套《李金髮全集》,應是一項詩壇盛事,而這位已故的文壇元老也庶幾可在九泉之下捋髯微笑了。

可以肯定的是,這是李先生最後一次接受訪問,他還說,我是他最後的一位文藝界的朋友。一九七六年冬,我特地到美國新澤西去拜望他,可惜的是,先生已在一星期前離開了我們,緣慳一面,委實令人遺憾。茲把當年的通信和訪問錄重新整理,交由香港《文學研究》發表,以示對先生的懷念。

李金髮先生賜答二十問

瘂弦先生:承寄訪問各題經已答就呈上,此文大約只能寫五六千字,再多則嫌嚕囌。另遵囑選寄紀念照片二十餘幀,可用則用不必勉強,用後即請寄回。年老神志不清,提筆常有錯誤,尚盼年輕人糾正之。髮翁時年七十有四

問:在大著《飄零閒筆》《文藝生活的回憶》一文中,先生記述了不少早年的生活情形。從一九一九年夏天以「勤工儉學生」的身份,負笈巴黎,優遊羅馬、柏林,寫作《微雨》、《食客與凶年》,受到周作人氏的賞識:一九二八年回國參加國父孫中山先生陵寢中山陵建造籌備工作;結識劉海粟、鄭振鐸、沈雁冰,創
辦《美育雜誌》,出版《為幸福而歌》;到一九三八年出任南京市立美術學校校長,創設《文壇雜誌》,縱橫二十年。讀後,不但可瞭解先生個人文學、藝術事業發展的軌跡,也可認識二、三十年代的中國文壇真貌,實在是現代中國文學史的珍貴資料。只是,在那篇文章中,有關先生在一九一九以前的生活情形,卻很少提及,可不可以請您談談?

答:回溯起來,可以說我幼年失學,小時也沒有像某些才子,一目數行,過目不忘,或年方八歲,即能讀《資治通鑑》云云。記得我六歲才開始「破學」,在蒙館老先生督促之下,認識不少字。以後又讀《左傳》、《詩經》、《幼學瓊林》,後來也讀唐詩,很少講解。十五歲才進城裡讀高等小學,混了三年,得王漱眉先生小心講解,稍通古文,因為沒有數理化的根底,致不敢去考省立中學,眼巴巴看著同時入城求學的姪兒在那兒畢業,在學生會裡出風頭,後來走投無路,心血來潮,毅然與幾個異姓同學,到香港去讀書。那時的英文程度,是一書一狗一貓,到了香港之後,只能進英文補習學校,後來經同鄉某介紹去見羅馬書院一位牧師,他聽我唸了一些課本之後,准許我到第五班上課,其實我只能讀二三年級的,上課幾個月之後,仍是丈八和尚,令我十分灰心,對同學問不勝問。當時正是第一次大戰完結,決意搭船回家,度歲再作計較。

到家不久,有位在復旦中學的同學來信,邀我到上海去就學,我於是束裝就道,不管十里洋場,天高地厚,到了上海之後,才知道他是調兒郎當,在復旦附中混讀,不三不四。那時正是留法勤工儉學最熱鬧之時,聽說第六期的人馬即將放洋,在旅店整裝待發的,不下八九十人,於是我們請准家長,拿足三百圓大洋,即日登記放洋。那時本已考好了留法預備學校,學費亦交了,只好轉讓給一位廣西同學,將錢收回,還有刀鋸斧鑿,亦給他使用了。

問:您曾經說過,在歐洲時常讀人道主義的讀物,漸漸感到人類社會罪惡太多,不免有憤世嫉俗的氣味,漸漸的喜歡頹廢派的作品,波德萊的《罪惡之花》及Verlaine的詩集,看得手不釋卷,於是逐漸醉心象徵派的作風。朱自清先生也在《中國新文學大系詩集》導言中,說您是把法國象徵詩人的手法介紹到中國詩裡的第一人。您是不是就這方面再詳細的談一談。譬如說:法國象徵主義詩人對你的作品影響如何?

答:初到法國即喜讀莫泊桑·阿爾方時多德的作品,後來到了巴黎,則開始讀魏爾崙的詩集,因為他是「有毒」的,最合年輕人的胃口,當然不能全部了解。大約在一九二三年,即開始寫《微雨》,一九二三年在柏林開始寫《食客與凶年》,一九二四年繼續寫《為幸福而歌》。那時不常讀到國內的作品,只偶然與周作人先生有書信往還,我兩本詩集亦多蒙他推薦給北新書局,這亦是我的幸運,否則這「有毒的」東西,實不容易遇見一個伯樂的,何況在一九二○年代哉!至於我的詩是無可否認的象徵派作品,然起初只知是一種體裁,無所謂象徵派,後來國內的人通稱為象微派·頹廢派,而今已垂五十年了。我毋寧說我的詩為神秘派。我於一九二五年讀了很多意大利鄧南遮的詩集,亦覺其很有神秘氣息,國人更看不懂了。

問:早年的「勤工檢學」留學生,俊偉之士固然很多,庸庸碌碌之輩亦復不少,但是,無論如何,他們都在以後的中國文化界甚至政界產生了很大的影響,(當然,正負雙方面的影響都有)。是否請您回憶一下當年您的交遊情形?

答:我去歐洲是一九一九年第一次世界大戰剛終了時,那時大教堂的鐘聲大響,好像是昨天的事。同船的亡命之徒,有李立三、王若飛、徐特立及許多不見經傳的湖南仁兄,講起話來,口沬橫飛,滿口湘潭口音,現在也恐已早登鬼錄了。這些人,一個月恐怕沒洗澡一次,在學校裡又沒有人搭理,故床布污穢不堪,在街上高談闊論,旁若無人。在外國與外人老死不相往來,況且初到學校即吃毒菌,死了兩位。自身是學生身份,至多與相識的同學偶然過從,此外是自己的教授偶然問難。至若與部長將軍議員往來絕對沒有的事。做學生也沒有錢請人吃魚翅,中國飯一日兩餐,跑到廉價的大眾飯店去吃便宜飯,回來還要替貧窮同學剪過長的頭髮〔現在做了大院長,也記不得這些貧苦的日子了。)一個姓梅的同鄉,家富百萬,到法國後,沒有讀得一張文憑,我與吳姓的同學,常取笑他遲起身,(因為昨夜有女友同住)因為他中文太差,我們常以查字典的法子與他輸賭,如某字查不到,則要請吃草莓一斤,他每次必敗,他到巴黎垂十年,一事無成,只好回南洋去結婚。後來聞說神經病(花柳入腦)發作,在新房裡大小便,卒之離婚死亡。有錢誤子弟有此結局者,還有一個姓「y」的同學,家本貧寒,奈其兄愛之特甚,無時不望其弟得博士歸來,光大門楣,故金錢供應,惟恐不及,奈這位老弟,則命帶桃花,在紙醉金迷之花都,特長跳舞,任何貨腰女郎,他招之則來,每夜三百法郎,棄之如敝履,而乃兄則須操作竟日也。某年返滬,忽兩腳酸軟,不能步行,驗之則為第二期之梅毒,何時第三期則不甚了了。此公頗有點總明,向外則稱入了某大學、某某系,但始終得不到一張碩士文憑,後來返國,只靠同班之中已有地位同學,寫八行箋,才覓得一碗飯吃吃,但學生愈來愈少,卒不了了之。我出國之時,他猶在歌樂山某校大彈其三弦,現恐已作古矣。

問:從藝壇前輩的文章中得知,先生也精雕塑藝術,可惜余生也晚,沒有能夠看到您的作品,從您首次寄來的雕塑圖片中,我們可以看出您在這方面的造諧甚深。一九三一年雕造的上海南京戲院屋前之浮雕,雖然圖片不甚清楚,但仍可想見其瑰麗宏偉,而廣州黃花岡上那尊鄧鏗銅像,豪氣干雲,尤其充份表現了一位革命者的凜然風範。伍延芳的塑像,也給人深刻的印象·在我看過的當代中國塑雕家的人像作品中,還很少有人能及得上您這個水準。是不是跟我們談談的您的雕塑生活。

答:你所說的伍廷芳銅像在越秀山,鄧鏗像在黃花岡(由廣九車站移去的),另外還有馬祥斌銅像在蚌埠,及五六尊蔣總統半身銅像在南京各學校,蔡元培、陳友仁及唐夫人半身像散佈各地,在廣州亦還塑了幾尊紀念家族銅像。一九三六年在南京寓所塑了一尊中山先生半身像,以備大銅像之用的,足足花了二年,到後來頭獎給人家得去了,此像亦無人保存“我自己回廣州去做校長,此後再無人注意此像,記得在廣州亦做過一個古應芬半身像,伸采奕奕,後來銅像無下文,原模型亦被丟棄了。記得一九二二年,塑了一個中國同學的頭像,竟得秋季大展覽接受。以後很少拿去展覽了。

說起造銅像是很偶然的。我返國之時,國內不識什麼人,亦沒有職業,起初劉海栗寫信來,要我去教授雕刻,每月一百圓國幣,到滬後始知是空頭支票,因為沒有人選雕塑課,他請不起,故只得落空,使我在開學時,幾乎下不了臺,後來虧他好意,寫信介紹我給楊杏佛,欲謀中山先生銅像工作,事雖不成,幸而認識孫哲先生,每月奉送二百圓,後又得做重慶公園中山銅像得以維持下去,到武昌中山大學去,亦是借孫哲先生之力保薦進去的。

在一九三○年。我還在杭州美專教書,捱得無聊,很想另圖發展,乃趁暑假之便,走訪住在嶺南大學的郭泰祺,原想再入外交部工作,那時正是九一八事變發生的時候,廣東政府不知怎樣,忽然要做銅像來紀念伍廷芳,他們知道我是做銅像的「專家」,即刻決定請我去做這個工作,不用到外交部去找差事,當即著傅秉常次長負此責任,簽約付款,一拍即合,因此放棄了兩年寫作的生活,接著又做鄧鏗的銅像,那時設廠招工,確實生活自由,不需再去找八行箋了“當時美國正鬧大不景氣,而我則春風得意哩!那年還做了四十五呎長浮雕,就是您剛剛提到在上海南京戲院的那座。其實都是不成熟的作品,謝謝您的謬賞。

問:在三十三期的《創世紀詩刊》上,我以《中國象徵主義的先驅者》為題,介紹過先生的生平和作品,肯定您在中國現代詩壇的地位和貢獻,引起許多年輕人的共鳴。事實上,沒有您和戴望舒先生的鋪路工作,中國現代詩不會有今天的成績。可是,在您那個年代的文壇,除了周作人、朱自清等少數具有文學遠見的人承認您作品的價值外,其他大多投以嘲弄的眼光,抱怨說看不懂,斥先生為「詩怪」,左翼文人更污衊先生為文壇的「逆流」「反動」。我覺得先生是詩壇四十年來最受誤解、最受委曲的作家,對這點,您有什麼看法。

答:我刊行過三本詩集— 《微雨》、《食客與凶年》、《為幸福而歌》,前二者周作人介紹給北新書局出版的,前面已經提過,後者是在上海時得鄭振鐸的助力出版的,當時「文學研究會」的人很多,我多半不認得。他們說我的詩他們看不懂,我滿不在乎,只認為他們淺薄而已。每一個時代凡創始之事業,必有人反對或譏諷,到頭來必得大白於天下,羅丹當年的黃銅時代,人皆譏其從人尸上脫胎出來的,諸如此類之事,屢見不鮮,又何足氣憤哉。鄭振鐸君,是個好人,可惜死於非命,每一念及,無限悒鬱。當年受人人歡迎的詩,是草兒在前,牛兒在後,或牛油麵包真新鮮,家鄉茶葉不費錢,或我不要兒子,兒子自己來了,無後的招牌,從今掛不起了,或是獨在寒窗學畫蛇,如此下去,則不成其為時矣,只是歌謠而己,又或飛鳥過江來,投影在江側,鳥去水長流,此影何曾從?冰心的詩,當年很受人歡迎,後來很多學樣的。就是拿英美浪漫派的詩,也有幾分隱藏性質,不是如適之之開門見山者也。

問:臺灣的詩壇也相當的興旺,刊物很多,新人輩出。在量的方面,從一九四九年到現在二十多年,詩讀物出版的數目已超過了「過去」(一九一九~一九四九)。在質的方面,也從早期的浪漫主義、三十年代左翼文學的政治的現實主義中擺脫出來,進行全面的現代化,獲得了若干的成績。您對目前新詩這種蓬勃的情況,
看法如何?

答:近代的詩很少讀,偶然在頗流行的雜誌上,見一些短詩,輒不忍讀下去,因為又是丈二和尚者也。其他正式的詩集,還未見過。故無從評起。

問:一九四八年路易士先生(來臺後使用筆名紀弦)自上海來臺教書,創辦《詩誌》、《現代詩》,把當年戴望舒、施螫存、戴杜衡等人組織的「現代派」的火種帶到此間,一時鼓舞了很多年輕人從事現代詩的創作,(我也是其中一位),形成一個詩的空氣最濃郁的時代一般認為臺灣詩的現代化是從那個時候開始的,在這之前,臺灣本地也有不少現代詩人,不過,他們大多數是用日文寫作,光復不久,學習國語的新的一代還沒有長成,老一輩的詩人還沒有辦法跨越語言的障礙,故未能形成氣候。路易士先生你想必認識吧!不久之前,在一次文藝聚會上,他還提起你主編的《美育雜誌》,稱讀它是當時水準最高、印刷最精微的美術雜誌。在三十年代的現代派裡頭,路易士、徐遲和李白鳳算是「輩份比較小的幾位,在戴望舒筆下,路易士先生是一個「高大、蒼白而略略害羞的年輕人」。但這位「年輕人」對臺灣的確產生了巨大的影響。在血緣上,我認為戴望舒等人的現代派,是先生象徵詩(或稱神秘詩)主張的延長和發展,而路易士先生到臺灣後成立的「現代派」,又是三十年代老「現代派:的延長和發展。因此,在臺灣談到現代詩,我們很自然的便追潮到更遠的血緣—— 先生您來,關於詩的現代化,有何卓見?而您認為目前的中國新詩有沒有危機存在?

答:詩的現代化我不敢評論,若中國文字「改革」後,中國詩將再不能讀,除非先去安南住幾年,學習拼音法,再來讀中國詩文。

問:近年來,國內的現代詩人提出一個現代詩歸宗的問題,所謂歸宗,就是歸向中國詩的傳統,認為現代詩,在精神上是中國唐詩、宋詞、元曲一貫發展的必然結果,而不是從西方移植來的舶來文學,中國新詩走向西方而回歸東方,經歷了非常痛苦的過程,是長期的模索所得到的結果。所以新詩人研究中國古典詩的風氣日盛。這是一個很好的現象,您對現代詩人如何發揚古典詩詞,持何觀點。

答:以前有人批評我的詩有很多詞的氣息在內,稍加研究,很可能為中國詞尋一條出路,為新詩尋一條出路,在新詩中安置下來,不過用羅馬字拼音法是絕不可能了。

問:國內現在的詩人中差不多有三代,剛才我提到的紀弦先生、覃子豪先生(已故)、番草(鍾鼎文)先生等是第一代,四十歲左右的屬第二代,三十歲以下的屬第三代。也有所謂「前行代」、「中間代」、「新生代」的說法,他們各有不同的表現風格和精神走向。關於前行代的作品,想先生已有印象·對於中間代和新生的作品,不知道您有沒看過?

答:對於中年一代的詩人,和第三代詩人,很少跟人談起,亦未讀過他們的作品。自從三本詩集出版以後,很少作詩,因為找不出一條正確的道路,覺得有自欺欺人之嫌,寫寫散文較輕鬆適意。自一九七一年退休以來,連寫散文亦覺多事。

問:您在海外多年,浸淫西方文學甚久,下面我想請您談談對英美現代詩壇的印象。

答:我對現代歐美詩全不注意,前年承林小姐送我一本英法對照的鮑得萊的《罪惡之花》,有時拿來吟哦一番而已。

問:在現代工商業的洪流中,舉世滔滔,詩的價值已經被貶黜為大煙囪陰影下的一名棄兒,您對整個詩這門藝術的前途作何看法?

答:我對新詩的前途頗為悲觀,亦不敢作任何期望。

問:史料上顯示,您也是一位成功的外交家,在伊朗和伊拉克都出使過一段很長的時間,您是怎樣進外交部工作,並出使中東兩國的?

答:因為在上海租住郭泰祺的洋房,所以與他一家都很熟,在重慶他鬧桃色事件那年,我偶然談起欲再回外交部工作(在武漢時曾在陳友仁部下工作很短的時期),他毫無難色地請我去做專門委員,當時他沒有「你原來是藝術家」的念頭,在歐洲司第二科辦事,其實是人浮於事,無事可辦,恰恰司長梁先生。是以前認識的小同鄉,所以以後隨時都可關照,如有空缺即代提名等。果然到部不久,即有伊朗大使館一等秘書空缺,那是需要法文的工作,那時吳國植代理部長還特地去問伊朗大使,「你們國家是否通行法文?」最後事還是成了,因此不必去巴黎當二等秘書了,那豈不是冥冥中有數存焉?

伊拉克的公使館,原來有一個代理館務的虞某,那裡的公使是伊朗大使兼任的,我到伊朗不久,即代理大使館館務,大使野心勃勃到國內活動去了,我負責了半年左右,受盡了大使夫人的氣,結果他調到泰國去之前,把我調到伊拉克公使館去做受罪人,當時我很不高與,因為那裡天氣很熱,(那亦是他的陰謀)經費又少,真是像出使西域,心中很是那個,殊不知到了那裡,外交部開恩,經費加了,新的林肯牌汽車亦有了,還另撥了四千美圓為新置傢具之用,真是那害人的大使沒有想到的,我和太太為購買傢具忙了半年。那年大概是流年不利,我因邀請外交官出去打野豬,墜馬跌傷肋骨,裂了三處,至今猶有時作痛,記得當時傢具全新,汽車第一,大宴各國使節一星期,為中國使館一洗寒酸氣,我走後來了一個啞巴做代辦了。

問:一九四○年左右,您似乎在柳州待過一段時間,在那兒,您是從事什麼樣的工作?

答:那一年,(一九四○吧)柳州的司令部長官,成立一個外事組,去對付日本人的攻越戰事,由重慶各會部派一專員到柳州去,我兼外事科長,於是時時要皮靴皮帶去參加行禮,長官是客家人張發奎,對我特別客氣,有時接待法國人做翻譯工作,有時要化裝苦力,去偵探日本人的行動,那是很危險的工作,受傷丟命是很平凡的。在伊拉克捱了五年的時光,直到大陸丟了,才買棹來美國,那時部裡本叫我回臺灣的,我不願意去領新臺幣過日子,所以決定來紐約,我以無論如何上吊投大樹,在美國總比領乾薪好些。

問:二十年前,在林語堂先生編的《天風》雜誌上,曾讀到您的散文,那時就得到您仍旅居海外的印象。夏志清先生有次來信說,令公子是夏先生在美念書時的同學,也談及您在美國開農場養雞的事,可不可以談談您在紐澤西的農場生活?

答:我一家大小來美已廿三年多了,從重慶出國,已是四十年了,我和太太結婚已四十二年了,還趕不上語堂先生的金婚五十年,太太是梅縣的大族出身,其曾祖父好像在清朝做過禮部官職,故至今仍稱禮部公,其家族的叔侄從事西醫的多,她的先母是黃公度的女兒,因早逝,其父再娶熊氏,平日管理家務,很是嚴厲,教兒女亦不苟且,對朋友交際最有辦法,烹調尤其拿手,來吃過飯的,莫不嘖嘖稱道。大兒子現已五十歲,是支加哥大學的政治學博士,他太太是臺山人,故我們不怕他太過洋化,現在他在夏威夷大學任副教授,有子女三人,長女已為大學三年級生,幼兒為哥倫比亞大學經濟碩士、耶魯大學化學學士,現在紐約任英文編輯工作,他擅長英文寫作,曾花三年功夫,寫成一部鉅著,正待出版,他尚未結婚,住在紐約市,每兩星期回來聚餐一次,頗有中國人的孝思,每次回來必往唐人街買一大盒食物回來共享。我在初到美國時,不知用什麼去謀生,又不想照老法子去做餐館或洗衣服,後來看見有外交部某君,在紐澤西買一農場,成本不多,似乎甚有遠景,我亦只好照樣去買十五畝的小農場,由銀行押款一部份,起初甚有起色,雞蛋漲至七角五分一打,經之營之,規模愈擴愈大,地皮由十五畝增至廿五畝,房屋亦數次拓展,共有三萬方尺的雞房,本可值得三萬四萬圓的,但是到了一九五九年,穀賤傷農,蛋價一落千丈,欠了銀行一萬七千餘元,迫得將機器房屋全部放棄,棄甲曳兵而走,次兒計代我們墊了四五千元血汗錢,白白辛苦了七八年寶貴的歲月,始來紐約謀生,幸有雕刻藝術一技之長,否則危險極了。

問:在您知識成長過程中,影響你最深的書是什麼?

答:從小學時代影響我最大的是《左傳》與《幼學瓊林》,外國書則為《戰爭與和平》、《群鬼之家》及泰戈爾新月詩集,其他名著讀的不多。

問:在您過去那麼多年所出版的詩集、散文及小說中,哪一部你最滿意?

答:我於痛定思痛之餘,比較滿意的是最後一部詩集《為幸福而歌》,那裡有無涯的幻想,喁喁的情話,令人生出無限的想像,不像初期的作品《微雨》,如無韁之馬,人們攻擊最多的亦在此處。

問:近十多來中國大陸有些寫現代新文學史的人如王瑤之流,常常把先生和戴望舒的作品列為不健康的,有毒素的,這在前面已經談到了一些。最近我去了一趙東南亞,在星加坡、香港一帶看到這方面的資料,在這些中共或左翼文人新編的書刊中,對先生的污蔑更甚,他們指責您的詩是「反動的」,「迴避時代洪流的」,說先生作品中的特色,如利用文言文狀事寫振物的詞彙,補充詩思和想像;曖昧難解的意象和奇異的形式,不過是為了掩飾頹廢的「反動」內容罷了,對於這,先生有何意見?

答:大陸上近年來的人思想奇特,已不是廿一世紀的人的頭腦,與我們已隔離了至少五百年,一個詩人,要怎樣努力去想像,才能適合所謂「馬克斯社會主義」的構想,除非別的水星出一個天才,能寫簡體字,做出「新社會主義的理想」來,他們這樣批評我,認為我的詩是不合青年人吟詠胃口的,因為他們居住在一個「新世界」,沒有豐富的想像力去消化這些幻想材料,我想要從西安或陝北居住久了的人,才能適合他們的胃口,我們居在另一個世界,另一個社會,真不敢想什麼才適合他們的胃口,我心目中想像,大陸的作品,總脫離不了勞動、鬥爭·結合、生產、「政治掛師」、「赤腳醫生」、「老中青三結合」、「鬥倒」、「鬥臭」...這樣名詞一大堆,叫詩人怎樣去下筆,故不敢期望這世紀有什麼奇蹟出現。

問:從您寄來的一輯生活照看來,先生精神矍鑠,神采奕奕,望之如五十許人,真看不出您已是七十四歲詩翁!請談談先生退休後的生活安排。

答:(我們在長島預買一座墳地,誰先死即誰埋在下層,後死的佔上層,以免臨時張皇失措)。自一九七一年經過經過第二次心臟毛病之後,即毅然辭去一切工作,退休在家。第二次之打擊,特別厲害,在醫院裡住了一星期,幸遇高明的意大利醫生,改INDEALL,心即不再作痛,若仍用以前之PERITRAT則必不可救藥,因為此藥片根本不生效力,再多吃亦無用,我相信很多醫生仍是蒙查查,繼續使用,冤哉人命也。我身體狀況甚佳,無其他毛病,時常做徒手運動,只是有時失眠,須服安眠藥,我相信要活至八十餘歲,不是困難的事,我母親是八十五歲才被迫害而死,否則至少可活至九十歲,以我現在的年齡,對什麼都是悲觀,覺得眾生都要死亡,去結束生命,實在是悲哀的事,恐龍巨象也要一死,散步時,覺得一樹一花的壽命都比自己長些,一石一橋都比我們長久,我們死後與草木同腐,了無痕跡,只給人記下一名字而已,我們無宗教的意識,死了可登天堂的夢話,絕對騙不了我們成年人,我寧願猝然暈倒死去,不要像我父親死以前一樣,尚有知覺,兒孫跪床痛哭,自己慢慢失去知覺(假定如此)而至氣絕。後來我才知他患的是腎臟炎,腰子失去了效用,而不要能濾清尿毒,致血中尿毒,當時全縣找不到一個中西醫(一九一五年左右),說得出是什麼病,現在中醫多用杜仲,西醫則用安氏補腎丸,亦只聊勝於無耳。

問:最近有什麼新的寫作計劃?

答:文學創作方面,差不多已經完全停止,只偶而寫點舊詩聊以自娛而已。

問:先生的宗教觀念如何?

答:中國的家庭多數是崇信佛教的,我的家族當然不能例外。我自小即受佛教的薰陶,以為人死了一定要過惡狗崗,死後要帶些麵飯去餵狗,免受其追趕。又相信死後將遇見已死的親屬,重溫感情,若是生平作過惡事的,則將在地獄中受罪或受割舌之刑,苦不堪言,種種說法無可懷疑,絕對真實。去年有一對信教的同鄉來紐約長住,其太太是我太太四十年前同學,異地重逢,非常高興,以是常來邀我們去參加開祈禱會,一見之下,一般兄弟姐妹十分友好,親熱交談,則非常有益,大家一齊唱詩,亦甚有意義,但久而久之,我們對讀聖經始終格格不入。聖經告訴我們,耶穌在不久的將來,要復活來到世上,救濟我們,把我們帶入天國去做人,在天國可以和一家人親屬團聚,是何等快樂的境界。
但談到耶穌使人不無懷疑,死了一千九百七十四年的人,怎樣能復活起來做救世的工作呢?他們言之鑿鑿,認為真有其事,那未免太天真了。耶穌信徒多人,有哪一個曾復活過的?生物中有那一個會死而復活的?以前有兩個德國老太太,是我們的鄰居,彼此相處很好,也常常請她們來我家吃中國菜,但是去年她們兩位都已逝世,死前也沒有見她們,兩位都孑然一身。但一生信教甚篤,也不能補救她們的孤苦伶仃,惟有默禱,此日到天堂去居住,補償她們在塵世的孤苦生活。今晨接到一個親戚來信,使我很驚異,她向來是不信宗教的,現在也談起宗教來,並說希望不久耶穌將復活到這世界來,帶我們到天堂去,共享榮華,脫離塵世的苦厄。天呀,原來她受了感化,亦信天堂樂土之說了!只怪自己不長進,永遠食古不化。

一九七四年十二月寫於紐約長島

文學研究 2007 秋之卷(第七期) 二零零七年九月三十日

Books That Changed America :"Leaves of Grass"...

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  • 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.



Happy Birthday to American poet Walt Whitman, born on this day in 1819.
Featured Artwork of the Day: John White Alexander (1856–1915) | Walt Whitman | 1889 http://met.org/1Fd3Yte

The Metropolitan Museum of Art, New York 的相片。


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.

Peter Gay/《 現代主義》 (Modernism):The Blush of the New、 《啟蒙運動》

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2015.4.22 籌備一場彭淮棟翻譯Thomas Mann《浮士德博士》討論會,發現Mann 在《極端的年代》只是一腳注:1914年已成名的作家-藝術家。Peter Gay 懂德語,所以這本《 現代主義》 (Modernism)(梁永安譯)索引中的6~7處引Mann ,稱之為反諷大師,社會史大家......


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恭喜梁永安譯Peter Gay"現代主義" (Modernism)得了今年「開卷十大好書獎.
翻譯類」獎項。

Lectures and Meetings:新春讀書會: Peter Gay"現代主義" (Modernism ...

2010年1月17日... (受邀者)贈: 2010年1月17日(週日) 1200-
1400歡迎蒞臨華人戴明學院地址:台北市新生南路三段88號2樓...


2010年1月17日... (受邀者)贈:Peter Gay"現代主義" (Modernism)梁永安譯2010年1月17日(週日) 1200-
1400歡迎蒞臨華人戴明學院地址:台北市新生南路三段88號2樓...

2009年12月27日星期日


MODERNISM:The Lure of Heresy From Baudelaire to Beckett and Beyond.

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內容簡介· · · · · ·

  以獨一無二的寬廣度和精彩度,呈現一場異端者的盛會。
  在近年出版的文化史作品中出類拔萃,是當代一個大歷史家的至高成就。
  本書集合了彼得.蓋伊(Peter Gay)一生學問之精華,是他繼《弗洛依德傳》之後最雄心勃勃的力作,探索的是讓人目瞪口呆的現代主義大起義。
  這場起源於一八四○年代的文化運動,是個高度顛覆性的運動,致力於推翻繪畫、小說、詩歌、戲劇、音樂、舞蹈、建築、設計和電影各藝術領域的既有成規窠臼。透過攻擊傳統形式,給藝術、文學、音樂和電影帶來了深邃轉化。
  現代主義產生於布爾喬亞文化環境,雖然兩者互相看不上對方。布爾喬亞文化正是蓋伊畢生所用力之處,對他來說簡直是信手捻來,他出神入化地描述了現代主義者對布爾喬亞的揶揄所表現的幽默風趣,是一部具有高度原創性與可讀性的著作。
  蓋伊以惡名昭彰的法國抒情詩人波特萊爾為他這一波瀾壯闊的研究揭開序幕,追溯了現代主義... (展開全部)
  

作者簡介· · · · · ·

彼得.蓋伊(Peter Gay)
  一九二三年出生於柏林,一九三八年移民美國。哥倫比亞大學博士,曾任教於哥倫比亞大學,目前為耶魯大學史特林(Sterling)史學教授、古根漢與洛克菲勒基金會學者、劍橋邱吉爾學院海外學者。歷獲各種研究獎如海尼根(Heineken)史學獎等,寫過超過二十五部作品,包括得過「美國圖書獎」的《啟蒙運動》、暢銷的《威瑪文化》,以及被譯為多種語言的《弗洛依德傳》。(以上三書中譯本皆立緒出版)

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《啟蒙運動:一種解讀:現代異教精神的掘起》The Enlightenment: An Interpretation: The Rise of Modern Paganism , 1966 《啟蒙運動:一種解讀:自由之科學》The Enlightenment: An Interpretation: The Science of Freedom , 1969 .
梁永安譯,台北:立編譯館,2008

從17世紀的法國藝文沙龍、18世紀德國因應啟蒙運動組成的閱讀社團,到19世紀美國婦女在女性主義運動熱潮中,以讀書會和文學社的形式增加婦女知識交流和社交機會。
習慣一個人享受閱讀時光,還是組讀書會聽聽別人的觀點?


【閱讀的方式】關於讀書會,留言分享週週抽獎參加過讀書會嗎? 在不同文化裡,讀書會都發揮重要的公共交流功能。 從17世紀的法國藝文沙龍、18世紀德國因應啟蒙運動組成的閱讀社團,到19世紀美國婦女在女性主義運動熱潮中,以讀書會和文學社的形式增加婦女知識交流和社交機會。 習慣一個人享受閱讀時光,還是組讀書會聽聽別人的觀點? 參加過讀書會的感想如何? 理想中的讀書會有哪些條件? 最近想針對什麼主題開讀書會嗎? 分享貼文或留言,就有機會抽到禮物! 另外,共和國每週都會抽填回函的讀者送禮物喔~ 圖片來源:http://en.wikipedia.org/wiki/Age_of_Enlightenment#mediaviewer/File:Salon_de_Madame_Geoffrin.jpg




The Blush of the New

Photographs, clockwise from left: Keystone/Corbis; Hulton-Deutsch Collection/Corbis; Stapleton Collection/Corbis
Clockwise from above: Le Corbusier brought a modernist sensibility to architecture, Flaubert to the novel and Baudelaire to poetry.

Published: December 30, 2007

Thomas Mann was an archmodernist, and this was his favorite story: One day, Gustave Flaubert was out walking with his sister. Ferociously antibourgeois, Flaubert lived alone, unconsoled and unencumbered by marriage or family. His novels mocked and maligned the French middle class, ironizing it into oblivion. He was a great frequenter of brothels and had fornicated his way through Paris and Cairo. And yet here he was out for a stroll, suddenly stopping in his tracks before a small house surrounded by a white picket fence.

MODERNISM

The Lure of Heresy From Baudelaire to Beckett and Beyond.
By Peter Gay.
Illustrated. 610 pp. W. W. Norton & Company. $35.
In the yard, a solid middle-class father played with his typical middle-class children while wife and mother looked lovingly on. The enemy! Yet instead of holding his nose, Flaubert gestured toward the house and exclaimed, without irony: “Ils sont dans le vrai!” (“They are in the truth!”) For Mann, the delightful incident illustrated the tension between the outrage at conventional life and the yearning to be part of it that tore at modernist psyches. There is more to aesthetic rebellion than offends the eye.
Surprisingly, the anecdote doesn’t appear in Peter Gay’s “Modernism: The Lure of Heresy,” a massive history of the movement in all its artistic forms — painting, sculpture, fiction, poetry, music, architecture, design, film (though, bafflingly, not photography, one of the chief catalysts of the modernist revolution). It’s all the more surprising because I once heard Gay cite Flaubert’s droll little stroll in a lecture, after which he brilliantly analyzed the episode’s every paradoxical nuance.
If anyone is aware of the complexity of modernist attitudes, it is Peter Gay. He is the country’s pre-eminent cultural historian and the author of masterpieces of social and intellectual reimagining including “The Enlightenment,” “Weimar Culture,” “Freud” and the towering multi-volume study “The Bourgeois Experience.” Such achievements make it all the more dismaying to find that in this rich, learned, briskly written, maddening yet necessary study, Gay’s formidable syntheses often run aground on lapses of knowledge and judgment.
Gay’s new book is the only one I’m aware of that tries to make sense of modernism in all its incarnations. Gay takes up his subject from the outset of the movement in the late 19th century to what he considers its continued vitality after World War II and its eventual death and possible resurrection in our own time. This comprehensiveness makes “Modernism” essential, especially for the general reader who wants to get a handle on Western culture’s most enigmatic phase. (A gift of this book and “The Rest Is Noise,” Alex Ross’s magisterial history of modern music, would equal about three years of college.) But unlike Henry Moore’s giant sculptures, in which negative space plays a positive role, Gay’s omissions and miscomprehensions cry out to be filled in and corrected. And yet, at times, the book is so nimbly erudite that its stubborn flaws make it all the more richly challenging.
For example, Gay knows that the image of the modernist as committed subverter of custom and convention is hackneyed. He writes in his introductory chapter that the idea of modernists as “scofflaws or mavericks massed against the solid verities of time-honored high culture and, usually, Christian faith” is one of the avant-garde’s “cherished fairy tales.” The Impressionists, for instance, didn’t care a whit about outraging official culture, or Christianity. But because Gay needs the “lure of heresy” to thematically structure his book, he often ends up not just reinforcing the caricature of modernists as unhappy outsiders and elitist malcontents, but inflating it.
It is almost as if Gay were perversely determined to undermine his own profound awareness of modernism’s multifaceted and contradictory nature. On the one hand he astutely writes, “The sources of the modernist rebellion in the arts rose from all quarters of the political, intellectual and emotional world.” On the other he speaks of “two essentially distinct areas of art, high art and low, which modernists had thought it crucial to keep apart.” But it was the modernists who brought the energy of everyday life into high art! Think of the scraps of newspapers and advertisements in the collages ofPicasso and Braque; of the parodic newspaper headlines and the music hall ditties in Joyce’s “Ulysses”; of Leopold Bloom wiping himself with a newspaper in the notorious book that appalled Virginia Woolf (and delighted T. S. Eliot); or of the Dadaists’ total collapse of serious art into the quotidian, or Mahler’s quotations of nursery rhymes or Stravinsky’s saxophones — the list of the modernists’ elitist democratizations is interminable.
What a relief it is to read Gay debunking the myth of Kafka the grim depressive with a description of friends who “laughed heartily” when Kafka read drafts to them. Kafka’s fiction is about the comedy of sexual frustration and the humor of competitive paranoia, among other things. What really broke up Kafka’s friends was the first sentence of “The Trial”: “Someone must have slandered Josef K., for one morning, without having done anything truly wrong, he was arrested.” Neurotic guilt was their collective métier.
Yet although Gay writes beautifully about Kafka, about Proust on grief, about authentic middle-class hunger for modernist liberations and about the final scene of recognition and unspeakable shame in Chaplin’s “City Lights” — to take just four examples among many — he seems to find it more useful to traffic in cardboard simplicities. There are a disconcerting number of these.
Gauguin did not, for example, abruptly quit his job as a stockbroker in Paris, as both popular legend and Gay would have it. He was fired by his firm, which had just gone under. You might say it was respectable society that had sacrificed Gauguin to the bottom line running just underneath bourgeois rhetoric about compassion and decency. No wonder the artist took off for what seemed to be the primitive explicitness of Tahiti.
Nor did the Norwegian painter Edvard Munch pay, as Gay writes, “the usual price” for his unsettling innovations. Munch was not doomed to “being misunderstood, neglected, rejected,” or to enjoying only “occasional appreciation.” He sold his first paintings at age 18 and three years later was invited to exhibit in the Norwegian section of the World’s Fair in Antwerp. At 26 he had his first one-man show, hailed by prominent art critics; two years later, Norway’s National Gallery, the country’s most prestigious art museum, purchased one of Munch’s works. By the time he was 40, Munch enjoyed international renown and the largesse of several wealthy patrons.
And it’s right for Gay to refer to Munch’s countryman, the odd, fierce peasant novelist Knut Hamsun, as a public admirer of the Nazis who wrote enthusiastically about them even as the Germans were occupying Norway. But it is wrong for Gay not to add that during his one meeting with Hitler, Hamsun so aggressively pressed the Führer to stop executing Norwegian resistance fighters and to loosen his repressive hold on the country that Hitler loathed Hamsun for his insolent disrespect.
As for Gay’s Parisian modernist “outsiders,” if the French provided the most extreme assaults on Western rationality — Rimbaud’s “disorientation of the senses,” André Breton’s celebration of primal instincts stored in the unconscious, André Gide’s enthusiasm for the “motiveless” crime, Antonin Artaud’s “Theater of Cruelty,” Maurice Blanchot’s declaration of the death of the author — the reason was simple. It was not that French conditions kept creating figures resembling Baudelaire, about whom Gay histrionically writes that he was “an outcast aware of his loneliness” — though, as Gay admits, Baudelaire lived at the center of Parisian cultural energy. In France, civilization is invincible and eternal. Its immutable stability makes opposition to it all the more cheerfully ferocious. You can hurl the most incredible rhetorical and intellectual violence against French custom and convention and still have time for some conversation in the cafe, un peu de vin, a delicious dinner and, of course, l’amour. And in the morning, you extricate yourself from such sophisticated coddling — the result of centuries of art and artifice — and rush back to the theoretical barricades.
But Gay, in thrall to Freud, prefers to root the modernists’ adventures in family trauma. Baudelaire, he writes, suffered a “revolution at home” after his father died and his mother married a “dashing” military officer. The poet and essayist, Gay simplistically tells us, “never quite worked through his expulsion from paradise.” Yet you would think that the author of the culture-shifting “Fleurs du Mal,” and of the equally seminal essay “The Painter of Modern Life,” had worked his way through everything that required working through.
In Charles Dickens’s “Little Dorrit,” a shrewd entrepreneur constantly condescends to his inventor friend by stressing what it pleases him to see as his friend’s pathetically impractical maladaptation to life. In fact, the inventor is fundamentally nothing of the kind. In a similar way, Gay falsely stresses the “cherished fairy tale” of modernist darkness, depression and miserable discontent. But Dada, for instance, was not “wholly negative,” as Gay describes it, any more than Munch or Kafka was wholly negative. Hannah Höch’s and Sophie Tauber’s dolls and puppets, Duchamp’s optical illusions in the form of whimsical machines and especially the cool, broken harmonies of Kurt Schwitters’s collages and fantastical life-size constructions were all imbued with the positive spirit of humor and play.
Even more radical are Gay’s misperceptions of modernism’s fundamental nature. It is not accurate to say, as Gay does, that in modernist fiction, “modernist mirrors reflected mainly the author.” Joyce, Proust, Mann, Lawrence, Woolf, Gide all wrote great realist novels that were as concerned with minutely noting the external world as with projecting intensely personal visions of the world. Elsewhere, Gay seems to acknowledge this, too. About Baudelaire, he writes, “Like the modernists who came after him, he was a realist with a difference.” Perhaps Gay simply wants to say that Baudelaire is a symbolist poet, and that surreal or highly subjective images coexist in his poetry alongside “realist” evocations of mental states and physical reality. In any case, it would have been helpful for Gay to explain his nice phrase “realist with a difference” and then go on to apply it to his other modernists. But he never elaborates on the distinction and never returns to it.
On the disheartening conundrum of modernists and politics, Gay is at his most bewildering. He writes of “liberalism, that fundamental principle of modernism.” He seems to have momentarily forgotten that Yeats, Eliot, Pound, Lawrence and Céline on the right, and Picasso, Gide, Breton and the Russian modernists (barely alluded to by Gay) on the left, were about as far from liberalism as a Cubist painting is from an iPod — not to mention the toxically snobbish Woolf, who was neither right nor too much left. For Gay, reactionaries like Eliot and Hamsun were “anti-modern modernists.” But he does not try to account for the fact that reactionaries like the Italian Futurists worshipped modernity’s speed and power. Nor does he grapple with what you might call hypermodernists: the utopian Russian avant-garde, who, far from being political reactionaries, threw in their lot with the Bolsheviks.
The question of why so many modernists were drawn to regimes that were sick parodies of the modernist quest for transcendence and absolutes is unanswerable. But perhaps here is where some psychologizing could be useful. Perhaps beleaguered by the mental burden of their intensely personal visions, the modernists looked at a totalitarian regime’s real-life version of their fanaticism and perfectionism and wearily exclaimed, “They are in the truth!” Thus they contrived the delusion that actual power made a home somewhere in the world for their solitary ideals. It could have been a mental trick that protected their egos from mortal wounds.
Gay traces the modernist impulse through the post-World War II period to our own time, where he finds it in the work of Frank Gehry and Gabriel García Márquez. Yet he doesn’t have much admiration for the postwar epoch. “There was much talent and little genius,” he writes about the decades after 1945. Is it so, however, that T. S. Eliot andWallace Stevens “produced no creditable heirs”? Not even W. H. Auden, who is not discussed by Gay? (“Lay your sleeping head, my love / Human on my faithless arm” — in one stroke, Auden could invoke modernist despair and affirm human hope.) But then, Gay never discusses Brecht’s dramas, either, though those quintessentially modernist works changed theater forever, especially in the ’60s. Conversely, Gay’s survey of postwar American art almost exclusively refers to the intensely biased and partisan — toward his own dubious theories, that is — Clement Greenberg, which is like quoting a Jesuit on the character and history of Protestantism.
Indeed, Gay’s inclusion of postwar art in a history of modernism makes little sense. Modernism was modernism only when the rising foundations, beams and struts of modernity were still visible. Once modernity became an enveloping condition, artists who were part of that condition — from Pollock to Warhol, from Robbe-Grillet to Grass, from Artaud to Pinter — rebelled as much against modernist Prometheanism as against the modern inadequacies that provoked it.
The Abstract Expressionists’ pure formalism was the end of the road for painting, not the exciting beginning of a new frontier. Malevich, Kandinsky and Mondrian all thought they had embodied a universal spiritual language in aesthetic form. Rothko wanted only that his canvases make people cry. DeKooning painted his scary women to make viewers laugh when they recalled Western art’s idealizations of women. And Pollock wanted nothing specific at all — Greenberg stuffed his theories into Pollock’s mouth. After modernity’s catastrophic climaxes — the Holocaust, Stalin’s gulags, Hiroshima and Nagasaki — postwar art aimed both to lower the boom on modernist euphoria and to ridicule modernism’s earnest despondency. Mann may not have been right when he wrote in his novel “Doctor Faustus” that modernism could only produce works of art that parodied earlier epochs. But in our own time, we seem mostly to be surrounded by art that parodies the various strains of modernism.
For all that, it’s painful to list the inadequacies in “Modernism.” Despite its failings, Gay’s book touches on so many relevant ideas and issues, subjects and themes, that it rouses us to a keen awareness of our own condition. Consider the second part of his thesis. Gay argues that along with the “lure of heresy,” what characterized the modernist rebellion was its “celebration of subjectivity.” If there’s anything that speaks to us now, it is the question of the “I,” that barbell of a pronoun that is so hard to lift in just the right expressive way. It is often provocative to watch Gay pursue modernist representations of the self.
Yet you wish that in Gay’s countless references to what he regards as the modernists’ cultivation of inwardness, he had made an important distinction between the modernists and the Romantics. It was the Romantics who stressed subjectivity. By contrast, the modernists emphasized the idiosyncrasy of personal vision as a way to flee from subjectivity. Knut Hamsun called this an “unselfish inwardness.” Gay means the same thing when he writes of “disinterested subjectivity” in his discussion of “Ulysses.” But he never returns to the idea.
The single reference Gay does make to Romantic inwardness occurs in the chapter on Baudelaire. It’s anybody’s guess as to what Gay means when he writes that the most sophisticated Romantics rejected “unchecked subjectivity.” Rousseau, Chateaubriand, Wordsworth, Byron, Shelley, Goethe in “Werther” — all these “sophisticated” Romantic authors were, by the standards of their age, “unchecked” in their subjective outpourings. But Gay seems to think it was the Romantics, not the modernists, who restrained their introspections.
On the contrary. Every modern revolution finds its point of resistance in the personal experience of those in revolt — that is, in a heightened subjectivity. The Romantics substituted genius and unique personality for aristocratic birthright and class, thus giving birth to the bourgeoisie. As Rousseau famously wrote, “I feel my heart, and therefore I know humankind.” But by the time the modernists came along, the bourgeoisie had conventionalized Romantic individualism into the petty assertions of ego.
And so the modernists sought to replace personality. They dissolved it in an impersonal creative vision that was nevertheless uniquely individual. Unselfish inwardness. When Eliot wrote that poetry was “not the expression of personality, but an escape from personality,” he was thinking along Hamsun’s lines. “The Wasteland” doesn’t tell us anything specific about Eliot’s personality, but it could have been produced only by Eliot’s personality. To put it another way, the Romantics exalted the self, but the modernists exalted the idiosyncratic — the intensely individualistic — escape from self.
Perhaps the bourgeoisie’s origins as the revolutionary class account for its facile assimilations of cultural subversions. Throughout his book, Gay marvels at the middle class’s capacity to absorb its adversaries. It’s an old story. But there is a difference between Artaud and HBO. We have exhausted Romantic individualism, and we have twisted the uniquely individual, modernist escape from the self into “self-expression.” Expression is everywhere nowadays, but true art has grown indistinct and indefinable. We seem now to be living in a world where everyone has an artistic temperament — emotive and touchy, cold and self-obsessed — yet few people have the artistic gift. We are all outsiders, and we are all living in our own truth.

Lee Siegel’s “Against the Machine: Being Human in the Age of the Electronic Mob” will be published next month.




Ruth Gay ( 1922 ~ 2006)

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Ruth Gay, Author of Books About Jewish Life, Dies at 83


Published: May 11, 2006
Ruth Gay, a writer known for her nonfiction books documenting Jewish life in the Old World and the New, died on Tuesday in the Bronx. She was 83 and lived in Manhattan.
She had been suffering from leukemia, and died at Calvary Hospital, her family said.
Ms. Gay's books include "Safe Among the Germans: Liberated Jews After World War II" (Yale University, 2002), which dealt with a little-studied subject: the more than 250,000 Jews who returned to Allied-occupied Germany in the immediate aftermath of World War II.
She also wrote "The Jews of Germany: A Historical Portrait" (Yale University, 1992), which chronicled Jewish life in Germany from the fall of Jerusalem in A.D. 70 to the rise of Hitler in 1933.
Reviewing the book in The New York Times Book Review, Peter Filkins called it "moving and lively."
"What emerges is the portrait of a culture very much alive and aware of its own rich heritage," he wrote.
In 1997, Ms. Gay received the National Jewish Book Award for nonfiction for "Unfinished People: Eastern European Jews Encounter America" (W. W. Norton, 1996). In that book, she examined the immigrant experience through the lens of her own girlhood in the Bronx.
Ruth Slotkin was born in the Bronx on Oct. 19, 1922; her father was a milkman who later opened a delicatessen. She earned a bachelor's degree from Queens College in 1943 and a master's in library science from Columbia in 1969.
Her first marriage, to the sociologist Nathan Glazer, ended in divorce. She is survived by her second husband, the historian Peter Gay; three daughters, Sarah Glazer Khedouri of Larchmont, N.Y.; Sophie Glazer of Fort Wayne, Ind.; and Elizabeth Glazer of Manhattan; two sisters, Shirley Gorenstein of Manhattan and Caroll Boltin of Croton-on-Hudson, N.Y.; and seven grandchildren.
Ms. Gay's book "The Jewish King Lear Comes to America," written with her daughter Sophie, is to be published next year by Yale.



Ruth Gay
From Wikipedia, the free encyclopedia
Ruth Gay (née Slotkin; October 19, 1922 – May 9, 2006) was a Jewish writer who wrote about Jewish life and won the 1997 National Jewish Book Award for non-fiction for Unfinished People: Eastern European Jews Encounter America (1996).[1]
Ruth Gay attended Queens College in 1943 and received a master's in library science from Columbia University in 1969. From 1948 to 1950 she was the editor of the JDC Review of the American Jewish Joint Distribution Committee.[2]
She died in 2006.[1]

Publications[edit]

  • Safe among the Germans liberated Jews after World War II (New Haven, CT: Yale University Press, 2002)
  • Unfinished People: Eastern European Jews Encounter America (New York, NY: W. W. Norton & Company, 1997)
  • The Jews of Germany: A Historical Portrait (New Haven, CT: Yale University Press, 1992)

External links[edit]

References[edit]

  1. Jump up to:a b Fox, Margalit (11 May 2006). "Ruth Gay, Author of Books About Jewish Life, Dies at 83". nytimes.com. Retrieved 16 January 2015.
  2. Jump up^“Biographical Note.” Guide to the Ruth Gay Collection 1980s-1993, 2002.Processed by Yakov Illich Sklar.

MODERNISM:The Lure of Heresy From Baudelaire to Beckett and Beyond.

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MODERNISM

The Lure of Heresy From Baudelaire to Beckett and Beyond.
By Peter Gay.
Illustrated. 610 pp. W. W. Norton & Company. $35.



Modernism : the lure of heresy : from Baudelaire to Beckett and beyond / Peter Gay.

BOOK/TEXT
BOOK/TEXT

AVAILABLE - Schwarzman Building (42nd Street & 5th Avenue) - Art - JQE 08-643 - USE IN LIBRARY


More Details
Edition 1st ed.
Description xxii, 610 p., [16] p. of plates : ill. (some col.) ; 25 cm.
Bibliography Includes bibliographical references (p. [511]-563) and index.
Contents A climate for modernism -- Professional outsiders -- Irreconcilables and impresarios -- Painting and sculpture : the madness of the unexpected -- Prose and poetry : intermittences of the heart -- Music and dance : the liberation of sound -- Architecture and design : machinery, a new factor in human affairs -- Drama and movies : the human element -- Eccentrics and barbarians -- Life after death? -- Coda : And Gehry at Bilbao.
Summary Historian Gay explores the modernist rebellion that, beginning in the 1840s, transformed art, literature, music, and film with its assault on traditional forms. Beginning his epic study with Baudelaire, whose lurid poetry scandalized French stalwarts, Gay traces the revolutionary path of modernism from its Parisian origins to its emergence as the dominant cultural movement in world capitals such as Berlin and New York. This book presents a pageant of heretics that includes (among others) Oscar Wilde, Pablo Picasso, and D. W. Griffith; James Joyce, Virginia Woolf, and T. S. Eliot; Walter Gropius, Arnold Schoenberg, and (of course!) Andy Warhol. Finally, Gay examines the hostility of totalitarian regimes to modernist freedom and the role of Pop Art in sounding the death knell of a movement that dominated Western culture for 120 years.--From publisher description.
Subject Modernism (Art)
Arts, Modern -- 19th century.
Arts, Modern -- 20th century.
ISBN 9780393052053 (hardcover : alk. paper)
0393052052 (hardcover : alk. paper)
Research Call Number JQE


Books Of the Times

Gleefully Upsetting the Artistic Apple Cart

By WILLIAM GRIMES
Published: November 21, 2007

Spoiler alert: The hero dies at the end, but shed no tears. Modernism, the artistic revolution that began with the poetry of Charles Baudelaire in the 1840s and quietly expired in the 1960s with Andy Warhol’s Brillo boxes, enjoyed “a good long run.” So Peter Gay concludes in the final sentence of “Modernism: The Lure of Heresy From Baudelaire to Beckett and Beyond,” his sweeping survey of the poets, playwrights, painters and architects who set out to rewrite the rules of art, transform consciousness and, wherever and whenever possible, shock the complacent middle class.


Janet Malcolm/W. W. Norton
Peter Gay

MODERNISM

The Lure of Heresy From Baudelaire to Beckett and Beyond
By Peter Gay
Illustrated. 610 pages. W. W. Norton & Company. $35.


Actually, Mr. Gay points out, that complacency has been greatly exaggerated. All revolutions require an enemy. The Modernists found theirs in the bourgeoisie, a fat, convenient target but also a source of support and encouragement. Enlightened curators, like Alfred Lichtwark at the Hamburg Kunsthalle, and art dealers like Paul Durand-Ruel in Paris, helped prepare the ground for the eventual victory of Modernism’s disorganized troops.
“Businessmen of culture offered and sold artistic products, whether dramas, drawings or volumes of poetry, and with the same gesture advanced the aesthetic cultivation of the buying public,” Mr. Gay writes. The road was long and difficult, but never quite as lonely as the artists themselves often saw it. Their isolation, was, in part, a self- created myth. “If my work is accepted,” John Cage once said, “I must move on to the point where it is not.”
Mr. Gay, the eminent historian of the European Enlightenment, Weimar culture and Sigmund Freud, has spent the greater part of the 1980s and ’90s chronicling the sensibility and cultural life of the Victorian middle class in his five-volume series, “The Bourgeois Experience.” It makes some sense, then, that he should now turn to the artistic avant-garde dedicated to pulling the rug from under the oppressive father figures of the 19th century. Otherwise it is hard to locate the motivation for yet another general work on a movement whose every breath and gesture has been subjected to minute study by legions of historians.
Mr. Gay adds little new in what amounts to a college survey course. A graceful writer, he leads the reader on a pleasant ramble through a well-traveled landscape, pointing right and left to the prominent features along the way and, like a superbly informed guide, offers his thoughts and comments. From seminal figures like Baudelaire and Flaubert, he moves right along to the Impressionists and then, taking the various art forms in turn, advances chronologically through the great debacle wrought by fascism and World War II before wrapping up with such postwar phenomena as Abstract Expressionism and Pop Art.
He has a thesis. Modernism, he argues, was propelled by two main impulses: the urge to overturn established hierarchies and break rules — this is what he means by “the lure of heresy” — and a compulsion to explore the artist’s interior world. These primal drives produced “a single aesthetic mind-set,” a “climate of thought, feeling and opinion,” unifying what might appear to be a scattering of disconnected artistic revolts.
Armed with this pair of organizing principles, Mr. Gay sets forth down his well-traveled highway. Prodigiously well informed, he covers a broad expanse of ground quickly, touching on most of the major figures but also bringing in lesser names, like the German playwright Georg Kaiser, who make the great galaxy of Modernism twinkle a little more brightly. Smart bits of description (the Guggenheim Museum as a fat white oyster) and well-chosen anecdotes speed the narrative merrily along, but rarely does Mr. Gay heed the greatest Modernist injunction, attributed to Sergei Diaghilev: “Astonish me!”
Mr. Gay’s enthusiasms and his insights are unevenly distributed. On painting, especially 19th-century painting, he rarely rises above banality. Edvard Munch, a second-rater by most estimations, gets promoted to the first rank, largely because his psychological obsessions dovetail with Mr. Gay’s Freudianism.
Literature, music and architecture, especially the pioneering architectural and design work of the Bauhaus movement, bring out his most insightful writing. Mr. Gay, in the chapter “Eccentrics and Barbarians,” takes a bit of a detour to profile wayward figures like Charles Ives and Knut Hamsun, the “anti-modern modernists.” These are the most engaging pages in the book, offering shrewd analyses that reveal how easily Modernism could embrace retrograde political thinkers and the seeming paradox, in the case of Ives, of an artistic revolutionary and small-town philistine inhabiting the same man.
The Freudian tinge lends a distinctive coloration to familiar material. Mr. Gay does have the odd habit of checking in from time to time to see what Freud thought of this or that Modernist, to no particular purpose. But he also delivers a splendid Freudian interpretation of Kafka’s work as embodying displaced conflict with his father. He also calls T. S. Eliot sharply to account, rejecting Eliot’s assertion that the poet hovers, detached, above the poem, an impersonal artificer. As implicated in Modernism’s interior voyage as any other poet, “Eliot was wrong.”
After World War II, Mr. Gay finds “much talent and little genius.” Pop Art’s erasure of distinctions between high and low art, crucial in his mind to the Modernist project, spelled the end of the great human adventure that began a century or more earlier. But Mr. Gay is not quite ready to sign the death certificate, especially after a visit to the Guggenheim Museum in Bilbao, Spain, designed by Frank Gehry. A twitch here, a jerk there, and who knows? There may indeed be life after death.

***

The Blush of the New


Photographs, clockwise from left: Keystone/Corbis; Hulton-Deutsch Collection/Corbis; Stapleton Collection/Corbis
Clockwise from above: Le Corbusier brought a modernist sensibility to architecture, Flaubert to the novel and Baudelaire to poetry.

By LEE SIEGEL
Published: December 30, 2007
Thomas Mann was an archmodernist, and this was his favorite story: One day, Gustave Flaubert was out walking with his sister. Ferociously antibourgeois, Flaubert lived alone, unconsoled and unencumbered by marriage or family. His novels mocked and maligned the French middle class, ironizing it into oblivion. He was a great frequenter of brothels and had fornicated his way through Paris and Cairo. And yet here he was out for a stroll, suddenly stopping in his tracks before a small house surrounded by a white picket fence.

In the yard, a solid middle-class father played with his typical middle-class children while wife and mother looked lovingly on. The enemy! Yet instead of holding his nose, Flaubert gestured toward the house and exclaimed, without irony: “Ils sont dans le vrai!” (“They are in the truth!”) For Mann, the delightful incident illustrated the tension between the outrage at conventional life and the yearning to be part of it that tore at modernist psyches. There is more to aesthetic rebellion than offends the eye.
Surprisingly, the anecdote doesn’t appear in Peter Gay’s “Modernism: The Lure of Heresy,” a massive history of the movement in all its artistic forms — painting, sculpture, fiction, poetry, music, architecture, design, film (though, bafflingly, not photography, one of the chief catalysts of the modernist revolution). It’s all the more surprising because I once heard Gay cite Flaubert’s droll little stroll in a lecture, after which he brilliantly analyzed the episode’s every paradoxical nuance.
If anyone is aware of the complexity of modernist attitudes, it is Peter Gay. He is the country’s pre-eminent cultural historian and the author of masterpieces of social and intellectual reimagining including “The Enlightenment,” “Weimar Culture,” “Freud” and the towering multi-volume study “The Bourgeois Experience.” Such achievements make it all the more dismaying to find that in this rich, learned, briskly written, maddening yet necessary study, Gay’s formidable syntheses often run aground on lapses of knowledge and judgment.
Gay’s new book is the only one I’m aware of that tries to make sense of modernism in all its incarnations. Gay takes up his subject from the outset of the movement in the late 19th century to what he considers its continued vitality after World War II and its eventual death and possible resurrection in our own time. This comprehensiveness makes “Modernism” essential, especially for the general reader who wants to get a handle on Western culture’s most enigmatic phase. (A gift of this book and “The Rest Is Noise,” Alex Ross’s magisterial history of modern music, would equal about three years of college.) But unlike Henry Moore’s giant sculptures, in which negative space plays a positive role, Gay’s omissions and miscomprehensions cry out to be filled in and corrected. And yet, at times, the book is so nimbly erudite that its stubborn flaws make it all the more richly challenging.
For example, Gay knows that the image of the modernist as committed subverter of custom and convention is hackneyed. He writes in his introductory chapter that the idea of modernists as “scofflaws or mavericks massed against the solid verities of time-honored high culture and, usually, Christian faith” is one of the avant-garde’s “cherished fairy tales.” The Impressionists, for instance, didn’t care a whit about outraging official culture, or Christianity. But because Gay needs the “lure of heresy” to thematically structure his book, he often ends up not just reinforcing the caricature of modernists as unhappy outsiders and elitist malcontents, but inflating it.
It is almost as if Gay were perversely determined to undermine his own profound awareness of modernism’s multifaceted and contradictory nature. On the one hand he astutely writes, “The sources of the modernist rebellion in the arts rose from all quarters of the political, intellectual and emotional world.” On the other he speaks of “two essentially distinct areas of art, high art and low, which modernists had thought it crucial to keep apart.” But it was the modernists who brought the energy of everyday life into high art! Think of the scraps of newspapers and advertisements in the collages of Picasso and Braque; of the parodic newspaper headlines and the music hall ditties in Joyce’s “Ulysses”; of Leopold Bloom wiping himself with a newspaper in the notorious book that appalled Virginia Woolf (and delighted T. S. Eliot); or of the Dadaists’ total collapse of serious art into the quotidian, or Mahler’s quotations of nursery rhymes or Stravinsky’s saxophones — the list of the modernists’ elitist democratizations is interminable.
What a relief it is to read Gay debunking the myth of Kafka the grim depressive with a description of friends who “laughed heartily” when Kafka read drafts to them. Kafka’s fiction is about the comedy of sexual frustration and the humor of competitive paranoia, among other things. What really broke up Kafka’s friends was the first sentence of “The Trial”: “Someone must have slandered Josef K., for one morning, without having done anything truly wrong, he was arrested.” Neurotic guilt was their collective métier.
Yet although Gay writes beautifully about Kafka, about Proust on grief, about authentic middle-class hunger for modernist liberations and about the final scene of recognition and unspeakable shame in Chaplin’s “City Lights” — to take just four examples among many — he seems to find it more useful to traffic in cardboard simplicities. There are a disconcerting number of these.
Gauguin did not, for example, abruptly quit his job as a stockbroker in Paris, as both popular legend and Gay would have it. He was fired by his firm, which had just gone under. You might say it was respectable society that had sacrificed Gauguin to the bottom line running just underneath bourgeois rhetoric about compassion and decency. No wonder the artist took off for what seemed to be the primitive explicitness of Tahiti.
Nor did the Norwegian painter Edvard Munch pay, as Gay writes, “the usual price” for his unsettling innovations. Munch was not doomed to “being misunderstood, neglected, rejected,” or to enjoying only “occasional appreciation.” He sold his first paintings at age 18 and three years later was invited to exhibit in the Norwegian section of the World’s Fair in Antwerp. At 26 he had his first one-man show, hailed by prominent art critics; two years later, Norway’s National Gallery, the country’s most prestigious art museum, purchased one of Munch’s works. By the time he was 40, Munch enjoyed international renown and the largesse of several wealthy patrons.
And it’s right for Gay to refer to Munch’s countryman, the odd, fierce peasant novelist Knut Hamsun, as a public admirer of the Nazis who wrote enthusiastically about them even as the Germans were occupying Norway. But it is wrong for Gay not to add that during his one meeting with Hitler, Hamsun so aggressively pressed the Führer to stop executing Norwegian resistance fighters and to loosen his repressive hold on the country that Hitler loathed Hamsun for his insolent disrespect.
As for Gay’s Parisian modernist “outsiders,” if the French provided the most extreme assaults on Western rationality — Rimbaud’s “disorientation of the senses,” André Breton’s celebration of primal instincts stored in the unconscious, André Gide’s enthusiasm for the “motiveless” crime, Antonin Artaud’s “Theater of Cruelty,” Maurice Blanchot’s declaration of the death of the author — the reason was simple. It was not that French conditions kept creating figures resembling Baudelaire, about whom Gay histrionically writes that he was “an outcast aware of his loneliness” — though, as Gay admits, Baudelaire lived at the center of Parisian cultural energy. In France, civilization is invincible and eternal. Its immutable stability makes opposition to it all the more cheerfully ferocious. You can hurl the most incredible rhetorical and intellectual violence against French custom and convention and still have time for some conversation in the cafe, un peu de vin, a delicious dinner and, of course, l’amour. And in the morning, you extricate yourself from such sophisticated coddling — the result of centuries of art and artifice — and rush back to the theoretical barricades.
But Gay, in thrall to Freud, prefers to root the modernists’ adventures in family trauma. Baudelaire, he writes, suffered a “revolution at home” after his father died and his mother married a “dashing” military officer. The poet and essayist, Gay simplistically tells us, “never quite worked through his expulsion from paradise.” Yet you would think that the author of the culture-shifting “Fleurs du Mal,” and of the equally seminal essay “The Painter of Modern Life,” had worked his way through everything that required working through.
In Charles Dickens’s “Little Dorrit,” a shrewd entrepreneur constantly condescends to his inventor friend by stressing what it pleases him to see as his friend’s pathetically impractical maladaptation to life. In fact, the inventor is fundamentally nothing of the kind. In a similar way, Gay falsely stresses the “cherished fairy tale” of modernist darkness, depression and miserable discontent. But Dada, for instance, was not “wholly negative,” as Gay describes it, any more than Munch or Kafka was wholly negative. Hannah Höch’s and Sophie Tauber’s dolls and puppets, Duchamp’s optical illusions in the form of whimsical machines and especially the cool, broken harmonies of Kurt Schwitters’s collages and fantastical life-size constructions were all imbued with the positive spirit of humor and play.
Even more radical are Gay’s misperceptions of modernism’s fundamental nature. It is not accurate to say, as Gay does, that in modernist fiction, “modernist mirrors reflected mainly the author.” Joyce, Proust, Mann, Lawrence, Woolf, Gide all wrote great realist novels that were as concerned with minutely noting the external world as with projecting intensely personal visions of the world. Elsewhere, Gay seems to acknowledge this, too. About Baudelaire, he writes, “Like the modernists who came after him, he was a realist with a difference.” Perhaps Gay simply wants to say that Baudelaire is a symbolist poet, and that surreal or highly subjective images coexist in his poetry alongside “realist” evocations of mental states and physical reality. In any case, it would have been helpful for Gay to explain his nice phrase “realist with a difference” and then go on to apply it to his other modernists. But he never elaborates on the distinction and never returns to it.
On the disheartening conundrum of modernists and politics, Gay is at his most bewildering. He writes of “liberalism, that fundamental principle of modernism.” He seems to have momentarily forgotten that Yeats, Eliot, Pound, Lawrence and Céline on the right, and Picasso, Gide, Breton and the Russian modernists (barely alluded to by Gay) on the left, were about as far from liberalism as a Cubist painting is from an iPod — not to mention the toxically snobbish Woolf, who was neither right nor too much left. For Gay, reactionaries like Eliot and Hamsun were “anti-modern modernists.” But he does not try to account for the fact that reactionaries like the Italian Futurists worshipped modernity’s speed and power. Nor does he grapple with what you might call hypermodernists: the utopian Russian avant-garde, who, far from being political reactionaries, threw in their lot with the Bolsheviks.
The question of why so many modernists were drawn to regimes that were sick parodies of the modernist quest for transcendence and absolutes is unanswerable. But perhaps here is where some psychologizing could be useful. Perhaps beleaguered by the mental burden of their intensely personal visions, the modernists looked at a totalitarian regime’s real-life version of their fanaticism and perfectionism and wearily exclaimed, “They are in the truth!” Thus they contrived the delusion that actual power made a home somewhere in the world for their solitary ideals. It could have been a mental trick that protected their egos from mortal wounds.
Gay traces the modernist impulse through the post-World War II period to our own time, where he finds it in the work of Frank Gehry and Gabriel García Márquez. Yet he doesn’t have much admiration for the postwar epoch. “There was much talent and little genius,” he writes about the decades after 1945. Is it so, however, that T. S. Eliot and Wallace Stevens“produced no creditable heirs”? Not even W. H. Auden, who is not discussed by Gay? (“Lay your sleeping head, my love / Human on my faithless arm” — in one stroke, Auden could invoke modernist despair and affirm human hope.) But then, Gay never discusses Brecht’s dramas, either, though those quintessentially modernist works changed theater forever, especially in the ’60s. Conversely, Gay’s survey of postwar American art almost exclusively refers to the intensely biased and partisan — toward his own dubious theories, that is — Clement Greenberg, which is like quoting a Jesuit on the character and history of Protestantism.
Indeed, Gay’s inclusion of postwar art in a history of modernism makes little sense. Modernism was modernism only when the rising foundations, beams and struts of modernity were still visible. Once modernity became an enveloping condition, artists who were part of that condition — from Pollock to Warhol, from Robbe-Grillet to Grass, from Artaud to Pinter — rebelled as much against modernist Prometheanism as against the modern inadequacies that provoked it.
The Abstract Expressionists’ pure formalism was the end of the road for painting, not the exciting beginning of a new frontier. Malevich, Kandinsky and Mondrian all thought they had embodied a universal spiritual language in aesthetic form. Rothko wanted only that his canvases make people cry. DeKooning painted his scary women to make viewers laugh when they recalled Western art’s idealizations of women. And Pollock wanted nothing specific at all — Greenberg stuffed his theories into Pollock’s mouth. After modernity’s catastrophic climaxes — the Holocaust, Stalin’s gulags, Hiroshima and Nagasaki — postwar art aimed both to lower the boom on modernist euphoria and to ridicule modernism’s earnest despondency. Mann may not have been right when he wrote in his novel “Doctor Faustus” that modernism could only produce works of art that parodied earlier epochs. But in our own time, we seem mostly to be surrounded by art that parodies the various strains of modernism.
For all that, it’s painful to list the inadequacies in “Modernism.” Despite its failings, Gay’s book touches on so many relevant ideas and issues, subjects and themes, that it rouses us to a keen awareness of our own condition. Consider the second part of his thesis. Gay argues that along with the “lure of heresy,” what characterized the modernist rebellion was its “celebration of subjectivity.” If there’s anything that speaks to us now, it is the question of the “I,” that barbell of a pronoun that is so hard to lift in just the right expressive way. It is often provocative to watch Gay pursue modernist representations of the self.
Yet you wish that in Gay’s countless references to what he regards as the modernists’ cultivation of inwardness, he had made an important distinction between the modernists and the Romantics. It was the Romantics who stressed subjectivity. By contrast, the modernists emphasized the idiosyncrasy of personal vision as a way to flee from subjectivity. Knut Hamsun called this an “unselfish inwardness.” Gay means the same thing when he writes of “disinterested subjectivity” in his discussion of “Ulysses.” But he never returns to the idea.
The single reference Gay does make to Romantic inwardness occurs in the chapter on Baudelaire. It’s anybody’s guess as to what Gay means when he writes that the most sophisticated Romantics rejected “unchecked subjectivity.” Rousseau, Chateaubriand, Wordsworth, Byron, Shelley, Goethe in “Werther” — all these “sophisticated” Romantic authors were, by the standards of their age, “unchecked” in their subjective outpourings. But Gay seems to think it was the Romantics, not the modernists, who restrained their introspections.
On the contrary. Every modern revolution finds its point of resistance in the personal experience of those in revolt — that is, in a heightened subjectivity. The Romantics substituted genius and unique personality for aristocratic birthright and class, thus giving birth to the bourgeoisie. As Rousseau famously wrote, “I feel my heart, and therefore I know humankind.” But by the time the modernists came along, the bourgeoisie had conventionalized Romantic individualism into the petty assertions of ego.
And so the modernists sought to replace personality. They dissolved it in an impersonal creative vision that was nevertheless uniquely individual. Unselfish inwardness. When Eliot wrote that poetry was “not the expression of personality, but an escape from personality,” he was thinking along Hamsun’s lines. “The Wasteland” doesn’t tell us anything specific about Eliot’s personality, but it could have been produced only by Eliot’s personality. To put it another way, the Romantics exalted the self, but the modernists exalted the idiosyncratic — the intensely individualistic — escape from self.
Perhaps the bourgeoisie’s origins as the revolutionary class account for its facile assimilations of cultural subversions. Throughout his book, Gay marvels at the middle class’s capacity to absorb its adversaries. It’s an old story. But there is a difference between Artaud and HBO. We have exhausted Romantic individualism, and we have twisted the uniquely individual, modernist escape from the self into “self-expression.” Expression is everywhere nowadays, but true art has grown indistinct and indefinable. We seem now to be living in a world where everyone has an artistic temperament — emotive and touchy, cold and self-obsessed — yet few people have the artistic gift. We are all outsiders, and we are all living in our own truth.
Lee Siegel’s “Against the Machine: Being Human in the Age of the Electronic Mob” will be published next month.

Peter Gay 《史尼茨勒的世紀》(2) /《施尼茨勒讀本》

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《施尼茨勒讀本》 作者: 施尼茨勒,北京: 人民文學出版社,2011
頁數: 439定價: 39.00元裝幀: 平裝叢書: 外國文學大師讀本叢書



內容簡介 · · · · · ·
《施尼茨勒讀本》內容提要:阿圖爾•施尼茨勒(1862-1931),奧地利著名劇作家、小說家,維也納現代派的核心人物。他是第一個把意識流手法引入到德語文學中的奧地利作家,以表現心靈、下意識和內心情感為宗旨的心理藝術風格,使他成為德語現代派文學最傑出的代表之一。

《施尼茨勒讀本》收入《死者無言》《古斯特少尉》《希臘舞女》《單身漢之死》《埃爾澤小姐》《阿納托爾》《輪舞》等代表性作品,照顧到了作者整個創作過程中在主題​​、形式和表現手法上的變化,力圖提供一個概括性的全貌。出版這個讀本,意在讓我國廣大讀者更好地認識和了解這位維也納現代派文學的開路人,追尋二十世紀奧地利文學輝煌之源。

目錄 · · · · · ·
小說

小小的喜劇
告別
死者無言
古斯特少尉
瞎子基羅尼莫和他的哥哥
陌生的女人
希臘舞女
單身漢之死
埃爾澤小姐
戲劇
阿納托爾(1892)
輪舞(1900)
箴言
 翻譯雖然像機械人,不過你或會心領:第87則:對你來說,當性欲的魔力從一個你始終還愛著的人身上逐漸降落時,你就時而會感受到新的奇蹟,那就是又有孩子站在你的面前,就是那個你在當妻子之前擁抱過的東西,而你現在比此前則更加愛它(sic)。
關係與孤獨
附錄
名家點評
施尼茨勒生平與創作年表
推薦書目


施尼茨勒读本

施尼茨勒读本
作者施尼茨勒
出版社: 人民文学出版社
出版年: 2011-6
页数: 439
定价: 39.00元
装帧: 平装
丛书: 外国文学大师读本丛书
ISBN: 9787020080168



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2011.5最近出版商將 Peter Gay 《史尼茨勒的世紀》重現書市 (仍是第一版的3500本)
我剛好碰到這段 就貼出


不知怎的,Peter Gay 《史尼茨勒的世紀》梁永安譯的網頁,找不到了.....

BOOKS OF THE TIMES; The Victorians Did Know About the Birds and the Bees
Alan Riding reviews book Schnitzler's Century: The Making of Middle-Class Culture, 1815-1914, by Peter Gay; photo
December 28, 2001


第三則讓我聯想起《史尼茨勒的世紀》一段話:

「但不管唯靈論的大家庭有多麼不和睦和小心眼,但有一點卻是他們一致相信的:靈魂是不朽的,活人可以透過方法與已逝者取得聯繫。由靈媒主持的降靈會乃是唯靈論者的正字標記。就像是不由自主地戲仿科學家對事實的高度看重那樣,唯靈論者喜歡不斷賣弄事實。在回憶兄長克爾納(Justinus Kerner)的書中(克爾納是德國醫師、詩人和唯靈論者),瑪麗(Marie)指出,那些以為她哥哥喜歡探索靈魂是因為想像力太豐富的人是錯的。「他只不過是把純粹的事實記錄下來罷了,而這些事實都是他親眼所見――不獨是他親眼所見,也是社會裡每個階層和年齡層的人親眼看過的。」唯靈論者記錄「事實」的出版品愈堆愈高,而他們都指天誓日其內容是值得信賴的;他們尤其偏愛那些本來抱懷疑態度但參加過降靈會後改變想法的人所寫的記錄。」




Victoria's Secret


SCHNITZLER'S CENTURY
The Making of Middle-Class Culture, 1815-1914.
By Peter Gay.
Illustrated. 334 pp. New York:
W. W.+Norton & Company. $27.95.
In a breathtakingly conceived series of five books published over some 15 years and called, collectively, ''The Bourgeois Experience: Victoria to Freud,'' Peter Gay established that at least some members of the European, American and British bourgeoisie enjoyed sex, had successful marriages, channeled aggression, cultivated self-awareness and supported the arts. Who said they didn't? You have to reach back to the historical platitudes of the 1950's and early 60's, in which the term ''Victorian'' is equivalent to prudish, philistine and materialistic, to find the picture Gay has worked so long, so inventively and so successfully to correct. Few students of the 19th century have read as widely and as imaginatively as Gay. Few deploy erudition as elegantly as he does. His research has added new ''data'' to the historic record: William Gladstone's massages of his wife's breasts so she could nurse, suggesting Victorians were not so prudish as we may have thought; Mrs. Beeton's instructions to Victorian housewives on how to kill a turtle, suggesting they were not so squeamish. Familiar to readers of Gay's earlier volumes, the stories are reprised in ''Schnitzler's Century,'' which Gay calls a ''synthesis.''
In a gesture meant to be as witty and naughty as assuredly it is tin-eared, Gay dedicates the century he has so long studied to a relatively obscure Austrian writer of plays, short stories and novels. Arthur Schnitzler (1862-1931) has consistently found a small but appreciative audience for his sophisticated stories of sexual intrigue. An early trifle called ''Reigen,'' 10 linked dialogues between a man and a woman, each a prelude to sex, inspired Max Ophuls's 1950 film, ''La Ronde,'' and David Hare's 1998 play, ''The Blue Room.'' Schnitzler's ''Dream Novella'' inspired Stanley Kubrick's last film, ''Eyes Wide Shut.''
Schnitzler's Vienna is a world of sexual adventure and artistic ambition; much of the talent was Jewish and much of the political passion anti-Semitic. Of his many extraordinary novels and novellas, I recommend ''The Road Into the Open'' (1908), in which Georg, a gifted but dilettantish composer, begins a love affair with a gentle, lovely singing teacher, Anna Rosner. Georg is a minor aristocrat; Anna is bourgeois. She becomes pregnant. Georg never seriously entertains marriage, though he knows he should. He dithers until the moment of the baby's birth, as he has dithered about his music, putting more emotional energy into avoiding commitment than he has ever devoted to accomplishment. Anna never reproaches him and accepts the end of her personal hopes with dignity and calm. The reader is struck by the total absence of humbug in their portraits, and by the emotional clarity with which Schnitzler treats autobiographical material, for the callous, philandering Georg is an aristocratic, de-Semiticized version of himself.
Although much of Schnitzler's writing concerns philanderers, and he himself comes across in Gay's account as an unlikable roué, his three novellas about women, ''Beatrice,''+ ''Fr* ulein Else'' and ''Thérèse,'' show him going out of his way to depict women sympathetically and their mental states, especially in extreme erotic circumstances, with complexity. Beatrice is tempted by a lover her son's age, and Else, a teenager, is forced to beg for a loan on her father's behalf from an older man who asks a sexual favor in return. These tight stories remind us both in scope and in the protagonists' socioeconomic background of Freud's case studies. It's not hard to see why Gay, who prides himself on writing ''cultural history informed by psychoanalysis,'' would be interested in Schnitzler, a writer whom Freud himself considered his literary double. Unfortunately, there isn't very much about Schnitzler here, and few readers will be led to associate the bourgeois ascendancy with his name.
Gay focuses on one episode, which took place when Schnitzler was 16. His father read the young man's diary, including an account of visits to a prostitute. The father, a well-known physician, hauled his son into his consulting room and showed an illustrated treatise on sexually transmitted diseases. The two were furious at each other, the young man at the invasion of his privacy, the father at the son's stupidity. Gay tries to turn this incident into the kind of emblematic episode that has served some of the new historicists so well. He opens with it and comes back to it at the start of succeeding chapters, as evidence variously of Victorian sexuality, anxiety, aggression and expectations of privacy. But the unmemorable vignette is not so much rich as it is forced to yield up meaning.
In the past, Gay has been a master at treading the ground between the particular and the abstract, finding new particulars and revising prized abstractions. He is a skilled biographer (of Freud) and memoirist, who nonetheless understands the danger of reducing all truth to the truths of the individual life. He wrote this book in the conviction, he says, ''that while it may be hard to live with generalizations, it is inconceivable to live without them.'' But while he is still bashing the bourgeoisophobes with unabated energy and playfulness, some of his favorite facts have gotten shopworn. The whole book takes too much for granted, reminding me of the convicts in the joke who know each other's stories so well they can merely call out, ''No. 14,'' to produce tears, and ''32'' to produce laughter.
As goalie defending the bourgeois enterprise, Gay fends off corner kicks even from Freud, who, in presenting neurosis as a product of sexual repression, criticizes the bourgeoisie too much for Gay's taste. Perhaps he has begun to mistake his own puckish corrections and saves for well-proven theoretical positions, and in the process come full circle back to something resembling the silliest of the old generalizations about Victorian culture, which his scholarship helped do away with. Or perhaps there is an Olympian kind of wisdom here I do not follow.
So we get: ''Everyone but a fanatical devotee of the new somewhere got off the train racing toward modernism.'' And in conclusion: ''It almost seems as though the Victorians left all that was best about them to the ungrateful generations that followed them, and that the evils of our times are our own invention.''
Generalizations like this will send many of us back to biographies and novels, and if some of the novels now are Schnitzler's, we should be grateful to Peter Gay
.

PETER GAY (紐約時報)

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The Blush of the New
A cultural historian tries to make sense of modernism.


Gleefully Upsetting the Artistic Apple Cart

Gleefully Upsetting the Artistic Apple Cart
An eminent intellectual historian leads the reader on a pleasant ramble through Modernist art and literature.
November 21, 2007


Metro Briefing | New York: Manhattan: New Director Set For Scholarly Center
Jean Strouse is named director of Dorothy and Lewis B Cullman Center for Scholars and Writers at the New York Public Library; succeeds founder Peter Gay
May 9, 2003


Don't Get Mad, Write Novels
David S Reynolds reviews book Savage Reprisals: Bleak House, Madame Bovary, Buddenbrooks by Peter Gay
August 4, 2002

Don't Get Mad, Write Novels


SAVAGE REPRISALS
Bleak House, Madame Bovary, Buddenbrooks.
By Peter Gay.
192 pp. New York:
W. W. Norton & Company. $24.95.
Peter Gay, the prominent cultural historian, here does a skillful turn as a literary critic. Highlighting three landmark novels of the 1850-1910 period -- ''Bleak House,''''Madame Bovary'' and ''Buddenbrooks'' -- Gay explores fiction as ''a mirror held up to its world,'' albeit a mirror that throws ''imperfect reflections.'' This broad premise gives him plenty of room to ruminate about literature in relation to history and biography. Reading ''Savage Reprisals,'' one of the Norton Lecture Series books, is like sitting in a college lecture hall and listening to a seasoned professor perform scintillating riffs on masterworks and their contexts.
The book's title refers to the vindictiveness that drives these novels. Some of Gay's most provocative insights relate to the revenge motif. He points out that Charles Dickens, infuriated by a botched lawsuit that wasted his time in 1844, gets ''reprisal for injuries suffered -- and injuries imagined'' in ''Bleak House'' (1853), where he satirizes the British court system as vicious and stupid. Gay shows that Dickens's flawless heroines, like Esther Summerson in ''Bleak House'' or Agnes Wickfield in ''David Copperfield,'' are not to be dismissed as cloying paragons. Instead, they can be viewed as the imaginative creations of an author who had ''problematic relationships with women, starting with his mother.'' Dickens was scarred in childhood when his mother refused to allow him to quit a warehouse job and resume his education, a refusal, he later said, ''I never can forget.'' Devastated also by the death of his beloved sister-in-law Mary Hogarth, Dickens assuaged his grief by fashioning idealized mother figures in his fiction.
Gustave Flaubert, too, used the novel to exorcise social and personal demons. The self-appointed scourge of middle-class mediocrity, he lamented to a friend, ''I feel against the stupidity of my epoch waves of hatred that choke me.'' His most memorable attack on bourgeois culture came in ''Madame Bovary'' (1857), his classic portrait of a bored housewife whose failure to find happiness in two adulterous affairs leads to her suicide. Here Gay navigates adroitly between history, biography and close reading. He notes that since divorce was banned in France during the period ''Madame Bovary'' was written, adultery was a ''perhaps necessary recourse for a restless husband or a neglected wife.'' He analyzes Emma Bovary with admirable subtlety. On the one hand, she embodies the provincial culture Flaubert detested. She is, in Gay's words, ''an instructive instance of the general inauthenticity, a small replica of her society at large.'' Still, as Gay shows, Flaubert deeply sympathized with her. Fleshing out the novelist's famous statement ''Madame Bovary, c'est moi,'' Gay informs us that Flaubert felt so close to his tortured heroine that he wept when writing and that he suffered two attacks of indigestion as he composed the scene in which she poisons herself.
Also hostile to bourgeois society, according to Gay, was Thomas Mann. Describing ''Buddenbrooks'' (1901), his novel about a family's decline over four generations, Mann spoke of ''the artist's sublime revenge on his experience.'' Gay demonstrates that in the novel Mann wreaks revenge on his well-heeled father, a senator and grain merchant, by excoriating capitalism. On a deeper level, Gay suggests, Mann in his fiction sought reprisal against repressive sexual conventions. Although married and the father of six, Mann wrestled with homosexual yearnings that surfaced most notably in ''Death in Venice,'' in which he portrays an aging man taken with a beautiful Polish boy. ''Buddenbrooks,'' Gay points out, is short on heterosexual love scenes and rife with homoerotic suggestions. For instance, the piano playing of the 8-year-old Hanno Buddenbrook is an orgy of sensual sound. Mann seems captivated not only by the music, which Gay calls the novel's ''harbinger and . . . agent of Eros,'' but also by the young musician, swept to orgasmic heights by his own playing.
Gay frames his readings with provocative theorizing about literature in its relation to human life and society. Well armed with solid biographical and historical facts, he is in a strong position to challenge the recently fashionable critical approach known as deconstruction or postmodernism. Assaulting the postmodern notion that ''there is no such thing as truth to begin with,'' that ''everything, a work of history as much as a novel, is only a text with its subtexts,'' he insists that novels reflect reality, though sometimes obliquely, and history represents a collective search for truth on the part of scholars who, despite disagreements, hope to establish ''a thoroughly well-informed accord on the past'': ''To put it bluntly, there may be history in fiction, but there should be no fiction in history.''
This argument is sound, though one has to consider the entire range of Gay's other books -- not just this slim one -- to find full support for it. In particular, his work on the Enlightenment and his multivolume study of the bourgeois experience stand as monuments of scrupulous scholarship. They lend credence to the notion that history, far from being merely a text or a subjective fabrication, is, at its best, a credible record of past people and events.
Because ''Savage Reprisals'' is literary criticism rather than history, it treads on more ambiguous territory than does Gay's previous work. Although Gay convincingly argues that his three authors ''have much to say to historians'' since they anchor their fiction in actual people and events, he also acknowledges that that they distort facts according to their passions and beliefs. His past books have revealed that bourgeois society was in many ways cultured and progressive. He balks, therefore, at his novelists' savage portraits of the bourgeois experience. For instance, he says ''Madame Bovary'' does ''a considerable injustice'' by caricaturing the French middle class as stupidly philistine; the novel is ''not a disinterested presentation of the evidence,'' and so its ''uses to the historian as historian are severely limited.'' Simultaneously fascinated and repelled by his authors' efforts as social commentators, he coins notably ambivalent epithets for them -- Dickens is an ''Angry Anarchist,'' Flaubert a ''Phobic Anatomist'' and Mann a ''Mutinous Patrician.''
A tapestry of contrasting shades, ''Savage Reprisals'' shares the complexity of its subjects. It reminds us that novels are written by real people with real feelings in real time, often about real events. To some, this may seem obvious. To those appalled by trendy dismissals of historical scholarship, it is a bracing return to common sense.cts. It reminds us that novels are written by real people with real feelings in
r

BOOKS OF THE TIMES; The Victorians Did Know About the Birds and the Bees
Alan Riding reviews book Schnitzler's Century: The Making of Middle-Class Culture, 1815-1914, by Peter Gay; photo
December 28, 2001


Victoria's Secret
Phyllis Rose reviews book Schnitzler's Century: The Making of Middle-Class Culture, 1815-1914 by Peter Gay
November 11, 2001


Victoria's Secret



SCHNITZLER'S CENTURY
The Making of Middle-Class Culture, 1815-1914.
By Peter Gay.
Illustrated. 334 pp. New York:
W. W.+Norton & Company. $27.95.
In a breathtakingly conceived series of five books published over some 15 years and called, collectively, ''The Bourgeois Experience: Victoria to Freud,'' Peter Gay established that at least some members of the European, American and British bourgeoisie enjoyed sex, had successful marriages, channeled aggression, cultivated self-awareness and supported the arts. Who said they didn't? You have to reach back to the historical platitudes of the 1950's and early 60's, in which the term ''Victorian'' is equivalent to prudish, philistine and materialistic, to find the picture Gay has worked so long, so inventively and so successfully to correct. Few students of the 19th century have read as widely and as imaginatively as Gay. Few deploy erudition as elegantly as he does. His research has added new ''data'' to the historic record: William Gladstone's massages of his wife's breasts so she could nurse, suggesting Victorians were not so prudish as we may have thought; Mrs. Beeton's instructions to Victorian housewives on how to kill a turtle, suggesting they were not so squeamish. Familiar to readers of Gay's earlier volumes, the stories are reprised in ''Schnitzler's Century,'' which Gay calls a ''synthesis.''
In a gesture meant to be as witty and naughty as assuredly it is tin-eared, Gay dedicates the century he has so long studied to a relatively obscure Austrian writer of plays, short stories and novels. Arthur Schnitzler (1862-1931) has consistently found a small but appreciative audience for his sophisticated stories of sexual intrigue. An early trifle called ''Reigen,'' 10 linked dialogues between a man and a woman, each a prelude to sex, inspired Max Ophuls's 1950 film, ''La Ronde,'' and David Hare's 1998 play, ''The Blue Room.'' Schnitzler's ''Dream Novella'' inspired Stanley Kubrick's last film, ''Eyes Wide Shut.''
Schnitzler's Vienna is a world of sexual adventure and artistic ambition; much of the talent was Jewish and much of the political passion anti-Semitic. Of his many extraordinary novels and novellas, I recommend ''The Road Into the Open'' (1908), in which Georg, a gifted but dilettantish composer, begins a love affair with a gentle, lovely singing teacher, Anna Rosner. Georg is a minor aristocrat; Anna is bourgeois. She becomes pregnant. Georg never seriously entertains marriage, though he knows he should. He dithers until the moment of the baby's birth, as he has dithered about his music, putting more emotional energy into avoiding commitment than he has ever devoted to accomplishment. Anna never reproaches him and accepts the end of her personal hopes with dignity and calm. The reader is struck by the total absence of humbug in their portraits, and by the emotional clarity with which Schnitzler treats autobiographical material, for the callous, philandering Georg is an aristocratic, de-Semiticized version of himself.
Although much of Schnitzler's writing concerns philanderers, and he himself comes across in Gay's account as an unlikable roué, his three novellas about women, ''Beatrice,''+ ''Fr* ulein Else'' and ''Thérèse,'' show him going out of his way to depict women sympathetically and their mental states, especially in extreme erotic circumstances, with complexity. Beatrice is tempted by a lover her son's age, and Else, a teenager, is forced to beg for a loan on her father's behalf from an older man who asks a sexual favor in return. These tight stories remind us both in scope and in the protagonists' socioeconomic background of Freud's case studies. It's not hard to see why Gay, who prides himself on writing ''cultural history informed by psychoanalysis,'' would be interested in Schnitzler, a writer whom Freud himself considered his literary double. Unfortunately, there isn't very much about Schnitzler here, and few readers will be led to associate the bourgeois ascendancy with his name.
Gay focuses on one episode, which took place when Schnitzler was 16. His father read the young man's diary, including an account of visits to a prostitute. The father, a well-known physician, hauled his son into his consulting room and showed an illustrated treatise on sexually transmitted diseases. The two were furious at each other, the young man at the invasion of his privacy, the father at the son's stupidity. Gay tries to turn this incident into the kind of emblematic episode that has served some of the new historicists so well. He opens with it and comes back to it at the start of succeeding chapters, as evidence variously of Victorian sexuality, anxiety, aggression and expectations of privacy. But the unmemorable vignette is not so much rich as it is forced to yield up meaning.
In the past, Gay has been a master at treading the ground between the particular and the abstract, finding new particulars and revising prized abstractions. He is a skilled biographer (of Freud) and memoirist, who nonetheless understands the danger of reducing all truth to the truths of the individual life. He wrote this book in the conviction, he says, ''that while it may be hard to live with generalizations, it is inconceivable to live without them.'' But while he is still bashing the bourgeoisophobes with unabated energy and playfulness, some of his favorite facts have gotten shopworn. The whole book takes too much for granted, reminding me of the convicts in the joke who know each other's stories so well they can merely call out, ''No. 14,'' to produce tears, and ''32'' to produce laughter.
As goalie defending the bourgeois enterprise, Gay fends off corner kicks even from Freud, who, in presenting neurosis as a product of sexual repression, criticizes the bourgeoisie too much for Gay's taste. Perhaps he has begun to mistake his own puckish corrections and saves for well-proven theoretical positions, and in the process come full circle back to something resembling the silliest of the old generalizations about Victorian culture, which his scholarship helped do away with. Or perhaps there is an Olympian kind of wisdom here I do not follow.
So we get: ''Everyone but a fanatical devotee of the new somewhere got off the train racing toward modernism.'' And in conclusion: ''It almost seems as though the Victorians left all that was best about them to the ungrateful generations that followed them, and that the evils of our times are our own invention.''
Generalizations like this will send many of us back to biographies and novels, and if some of the novels now are Schnitzler's, we should be grateful to Peter Gay
.

Dissecting the Era of Virgins and Satyrs
Peter Gay, emeritus professor of histor at Yale, discusses latest book, Schnitzler's Century, which examines sexual mores and anxieties of Victorian era as seen through life and work of Arthur Schnitzler; photos
November 10, 2001


Fitting Mozart
Katherine Gregg disputes Peggy Constantine's June 20 review of Peter Gay book Mozart
August 22, 1999


The Truth About Sex
Eric Bentley letter on Peter Gay's July 11 Bookend essay about Viennese playwright Arthur Schnitzler and his views on sex
August 1, 1999

Don't Sell Mozart Short
Erna Schwerin letter on Peggy Constantine June 20 review of Mozart by Peter Gay
July 11, 1999
Books in Brief: Nonfiction
Peggy Constantine reviews book Mozart by Peter Gay
June 20, 1999
MORE ON PETER GAY AND: REVIEWS, BOOKS AND LITERATURE

CRITIC'S NOTEBOOK; Biographical Sound Bites? Well, These Have Teeth
Richard Bernstein comments on Penguin Lives, new series of short biographies created by James Atlas; focuses on Peter Gay's Mozart and Garrry Wills's St Augustine; photo; drawing
May 5, 1999


COMEDIAN HARMONISTS; A Matter of Record
Belinda Cooper letter on Peter Gay article (Jan 10) on Joseph Vilsmaier's film on Comedian Harmonists
January 31, 1999


'I Will Bear Witness'
Richard Mazer letter on Peter Gay Nov 22 review of Victor Klemperer book I Will Bear Witness: A Diary of the Nazi Years 1933-1941
December 20, 1998

Displaced Person
Frank Kermode reviews book My German Question: Growing Up in Nazi Berlin by Peter Gay; drawing
October 25, 1998
MORE ON PETER GAY AND: REVIEWS, BOOKS AND LITERATURE

Center at Library to Foster Scholarship in Humanities
New York Public Library appoints historian Peter J Gay as founding director of $15-million humanities center that is being established to foster 'innovative thinking about society'; his photo; library hopes that Dorothy and Lewis B Cullman Center for Scholars and Writers, in renovated space at main library, will be hub of humanities scholarship and discourse; library president Paul LeClerc discusses plans
July 30, 1997


Mark Twain's Romulus and Remus
To the Editor: With all due respect to Caryn James ("Amy Had Golden Curls; Jo Had a Rat. Who Would You Rather Be?" Dec. 25) and Peter Gay ("The 'Legless Angel' of 'David Copperfield': There's More to Her Than Victorian Piety," Jan. 22), the most misunderstood figure in literature is neither Amy March nor Agnes Wickfield. That honor goes, of course, to Sid Sawyer.
February 26, 1995


The 'Legless Angel'
To the Editor: As a psychotherapist who is also deeply connected to literature, I was delighted to read Peter Gay's insightful essay. His understanding of Agnes Wickfield gives due credit to a wrongly maligned young woman. I have always found Agnes pretty wonderful myself, and understood her "monitory gesture" to have very specific meanings.
February 19, 1995


The 'Legless Angel'
To the Editor: I appreciated Peter Gay's essay on Agnes Wickfield, as it brought back and validated memories of my own love affair with her.
February 19, 1995
LEAD: Peter Gay, Don DeLillo and J. F. Powers are among the 10 authors nominated for the 1988 National Book Awards. The nominations were announced yesterday by Barbara Prete, the executive director of the sponsoring organization, National Book Awards Inc.
October 11, 1988


Freud's Father
LEAD: To the Editor:
May 29, 1988


Books of The Times; Biography Relates Freud's Theories to His Life
LEAD: Freud A Life for Our Time By Peter Gay 810 pages. W. W. Norton & Company. $25.
April 20, 1988

Books of The Times; Biography Relates Freud's Theories to His Life
By MICHIKO KAKUTANI
Published: April 20, 1988

Freud A Life for Our Time By Peter Gay 810 pages. W. W. Norton & Company. $25.
It has been nearly 50 years since Freud's death, nearly a century since he began to formulate the underpinnings of psychoanalysis, and it is clear, in retrospect, just how accurately he predicted his fate - as he once put it, to ''agitate the sleep of mankind.'' The picture of man that Freud bequeathed to the 20th century, after all, was a peculiarly modern and disturbing one, a picture of man as a conflicted creature, torn by his dual yearnings for love and death and besieged by unconscious impulses only barely held in check by the blandishments of civilization.
The Freud who emerges from Peter Gay's intelligent and wholly absorbing new biography is himself a contradictory figure: ''an unreconstructed nineteenth-century gentleman in his social, ethical, and sartorial style'' whose revelations about sexuality would shock his contemporaries and indelibly shape the next century's intellectual discourse; ''the nemesis of self-deception and illusions'' who fearlessly used himself as a guinea pig yet fiercely guarded his own privacy; a map maker of the mind who redefined the limits of reason and yet made his own life a model of self-control.
Thanks to his own writings and a vast body of secondary literature, Freud already boasts a minutely annotated life. Mr. Gay, a cultural historian who has written several shorter studies of Freud, has obviously drawn on earlier sources (as well as such new material as Freud's highly revealing correspondence with his friend Wilhelm Fliess, which was published in its entirety for the first time in 1985), but he has produced a judicious, original biography, scrupulously grounded in close readings of his subject's work.
The book is neither reverential, like Ernest Jones's famous life of his mentor, nor as judgmental as other more recent studies. Instead, Mr. Gay situates Freud's theories within a cultural and historical context while tracing their relationship to the psychoanalyst's own life. As a result, we become privy to the fascinating dialogue Freud maintained in his mind between ''private feelings and scientific generalizations,'' and we are made to see that ''beneath the surface of his rational argumentation, there lurks Freud the disappointed father, the concerned mentor, the anxious son.''
Like such biographers as Paul Roazen, Mr. Gay contends that Freud's controversial views of women (as a kind of castrated man, lacking a strong superego, etc.) grew out of his ''larger cultural loyalties, his Victorian style'' and his reluctance to come to terms fully with his own mother. Mr. Gay also argues that Freud's frustrating four-year-long engagement to Martha Bernays left its mark on his theories about the sexual nature of neurosis, and he notes that the death of Freud's daughter Sophie in 1920 (combined with several other losses) could have contributed to the development of ''his late psychoanalytic system, with its stress on aggression and death.''
After sketching in Freud's family background (the weak father, the strong-willed mother, the proliferation of siblings), Mr. Gay quickly moves on to look at just how Freud assembled the rudiments of psychoanalytic theory and how the fledging psychoanalytic movement slowly accrued international recognition even as it was riven by internal dissent. Some of these scenes, drawn with novelistic care by Mr. Gay, verge on low comedy, what with the psychoanalysts wildly coining self-serving analyses of one another. Freud dubbed Alfred Adler's actions ''the revolt of an abnormal individual driven mad by ambition''; he described Jung as ''all out of his wits,'' and he characterized Otto Rank as ''an impostor by nature.''
In describing these battles, Mr. Gay is careful not only to delineate the Oedipal clash of personalities that was exacerbated by Freud's need for enemies as well as friends but also to communicate the underlying conflict of ideas. He characterizes ''Totem and Taboo'' as Freud's attempt ''to anticipate, and to outdo, his 'heir' and rival'' Jung and ''Inhibitions, Symptoms and Anxiety'' as a response of sorts to Rank's defection.
For the lay reader, in fact, one of the virtues of this biography is Mr. Gay's lucid and succinct analysis of Freud's essential texts and his assessment of their relationship to one another: from ''The Interpretation of Dreams'' (1899) and ''Three Essays on the Theory of Sexuality'' (1905), which articulated the basic principles of psychoanalysis, through the reformulations laid out, after the war, in ''Beyond the Pleasure Principle'' (1920) and ''The Ego and the Id'' (1923) - works that helped define, as Mr. Gay puts it, ''a general psychology'' that reached beyond the world of neuroses to that of ''normal mental activity.''
With such subsequent books as ''The Future of an Illusion'' (1927) and ''Civilization and Its Discontents'' (1929), we see Freud moving even further into the realm of speculation as he formulates a psychoanalytic theory of religion, politics and culture. Although there had always been a dark streak of determinism in his work, these two late works were to be his most somber and pessimistic. ''Life, as it is imposed upon us,'' he wrote, ''is too hard for us; it brings us too many pains, disappointments, insoluble tasks.'' It is as though, he added, ''the intention that man should be 'happy' is not contained in the plan of 'Creation.'''
No doubt these sentiments mirrored Freud's own fears of aging and death as well as his growing anxiety about the events overtaking Europe. In March 1938, the Nazis marched into Austria; in June, Freud and his family left Vienna for London. The following year, suffering from terminal cancer, he died after asking his doctor for a fatal dose of morphine
.

Stalin's Killerati
LEAD: To the Editor:
March 6, 1988



UNIVERSITY PRESSES; MAPPING THE STATES OF MIND
LEAD: A GODLESS JEW Freud, Atheism, and the Making of Psychoanalysis.
October 11, 1987

LOVE, LOVE, HOORAY FOR LOVE
THE BOURGEOIS EXPERIENCE Victoria to Freud. Volume Two: The Tender Passion. By Peter Gay. Illustrated. 490 pp. New York: Oxford University Press. $24.95. THE second volume of Peter Gay's projected five-volume survey of middle-class culture in the 19th century is a less tidy affair than its predecessor. In ''The Education of the Senses,'' (1984), the first volume of ''The Bourgeois Experience: Victoria to Freud,'' Mr. Gay took issue with received wisdom about Victorian sexuality. Despite their e...
March 16, 1986


BOOKS OF THE TIMES; VICTORIANS IN LOVE
THE TENDER PASSION: The Bourgeois Experience, Victoria to Freud. By Peter Gay. 490 pages. Oxford University Press. $24.95. In the first volume of his massive examination of bourgeois life during the 19th century, the historian Peter Gay took it upon himself to re-examine the sexual behavior and attitudes of the Victorians, both here and in Western Europe. ''Education of the Senses'' (1984), as that volume was called, proved to be a witty, erudite and controversial study that challenged many of ...
March 1, 1986


BOOKS OF THE TIMES

BOOKS OF THE TIMES; VICTORIANS IN LOVE




THE TENDER PASSION: The Bourgeois Experience, Victoria to Freud. By Peter Gay. 490 pages. Oxford University Press. $24.95. In the first volume of his massive examination of bourgeois life during the 19th century, the historian Peter Gay took it upon himself to re-examine the sexual behavior and attitudes of the Victorians, both here and in Western Europe. ''Education of the Senses'' (1984), as that volume was called, proved to be a witty, erudite and controversial study that challenged many of the stereotypes commonly held about that not so distant era - besides arguing that the middle classes of that period were considerably more interested in sex than its genteel manners suggested, the book presented a thoroughgoing reassessment of the role and nature of Victorian women, persuasively arguing that the old image of them as repressed, frigid, anesthetic creatures was as inadequate as it was demeaning.
Now, in ''The Tender Passion,'' a sequel of sorts to that earlier volume, Mr. Gay proposes to take a detailed look at Victorian notions of love -love as an ideal of bourgeois life and love as a day-to-day reality, realized by actual couples. Almost immediately, however, Mr. Gay runs into problems. For one thing, given the contiguous nature of love and sex, he often has difficulty confining himself to a discussion of the issue at hand and hence strays into material familiar from ''Education of the Senses'' (i.e. repression and its consequences) or material more appropriately discussed in that previous work (i.e. prostitution and homosexuality).
Secondly, he has an irritating tendency to impose strict Freudian interpretations on all his subject matter (trains are always taken as erotic symbols, as are gardens, banquets and department stores), combined with a tendency to manipulate his data - even the most obdurate - to serve his own didactic ends. For example, in arguing that love was the ''governing preoccupation'' of 19th-century novelists, he writes that even ''a novelist like Gogol who, from desperate psychological conflicts of his own, sought to excise any intimations of deep erotic involvements in his fictions, paid indirect tribute to love by his energetic exertions to evade it.''
To make matters worse, many of the points Mr. Gay seems to want to make in this book end up striking the reader as obvious: his observation, for instance, that Victorian marriages were ''not just the source of conflicts, but also a means for their resolution''; or for that matter, his assertion that generalizations are difficult to make, that ''idiosyncratic intimate histories and the divergent pressures exerted by religious allegiances, social distinctions, and national habits must make any description of characteristic middle-class styles in love and sex richly polychromatic.'' Of course, the reader's inclined to say, who was ever foolish enough to suggest that Victorian couples were all unhappy, or that a single sweeping generalization could sum up the temper of the times?
Largely as a result of these problems, ''The Tender Passion'' reads less as a spirited, original inquiry into social history, than as a fluently written compendium of Victorian love stories, anecdotes and quotes. As such, however, the book is informative, occasionally illuminating and often entertaining, offering the reader a variety of Victorian definitions of love, ranging from Novalis' romantic conception of love as a kind of applied religion (''love is the final purpose of world history - the amen of the universe'') to Diderot's cyncial assessment of love as no more than ''the voluptuous rubbing of two intestines'' to Freud's dictum that love requires the uniting of ''two currents,''''the tender and the sensual.'' The volume's discussion of love as portrayed in the fiction of Trollope, James, George Eliot, Proust, Dickens and Flaubert attests to both an enormous amount of reading and a mind well versed in the use of psychoanalysis as an interpretative technique. And the chapter titled ''Stratagems of Sensuality'' provides the reader with a lively, if somewhat arbitrary, sampling of the ways in which Victorians found ''displacements'' for their erotic desire. Wagner's operas, Mr. Gay observes, ''manifestly embodied, and boldly staged, sexual longings and fulfillments that ordinary mortals keep to themselves''; while the 19th-century ''love of nature'' cult ''held the most profitable possibilities for the sensual,'' locating all manner of erotic metaphors and analogies in such natural phenomenon as ''the delicious shiver'' of aspen leaves and the rhythmic waves of the ''fiery sea.''
As in ''Education of the Senses,'' Mr. Gay has culled an enormous amount of material from diaries, letters, novels, medical texts and philosophical treatises, and he again attempts to extrapolate readings about society and class from individual case studies. His overall conclusions, too, echo those of his earlier book -namely that the Victorian era was essentially a century of transition, a time of change, during which those two contradictory impulses - toward freedom and toward control - came clashing noisily together, creating in their wake nervousness and confusion.
In the arena of love and sex, this meant that fiercely felt passions were often cloaked beneath decorous facades; that privacy and reticence -those twin gods of the good bourgeois household - frequently concealed a high measure of tolerance and liberality. ''Their defensiveness was a tribute to passion,'' Mr. Gay writes, ''displaying a wry respect for its powers. It invites the paradoxical speculation that the century of Victoria was at heart more profoundly erotic than ages more casual about their carnal desires and consummations.''
As Mr. Gay adds, that very guardedness on the part of the Victorians also creates difficulties for the historian intent on deciphering their lives. And that, in the end, may in part, explain the sketchiness of ''The Tender Passion.''
Photo of Peter Gay

SEX AND THE MARRIED VICTORIANS
THE BOURGEOIS EXPERIENCE Victoria to Freud. Volume One: Education of the Senses. By Peter Gay. Illustrated. 534 pp. New York: Oxford University Press. $25. THIS is the first volume in what promises to be an immensely ambitious work. (It will, we are told, ''eventually comprise at least five volumes.'') Peter Gay proposes to investigate and explain the inner world of the European and American middle classes from the 1820's to the outbreak of World War I. His work, he says, is ''history informed ...
January 8, 1984

The 'Legless Angel'
To the Editor: In response to Peter Gay's essay "The 'Legless Angel' of 'David Copperfield': There's More to Her Than Victorian Piety" (Jan. 22), there is further evidence of Agnes Wickfield's sexuality when we remember her as Uriah Heep's anticipated prize. While David Copperfield, temporarily distracted (and sexually attracted) by the childish Dora's curls and giggles, might have seen Agnes as a domestic sister-friend-guardian angel, "pointing upward," Uriah gloats over Agnes with lip-smackin...
February 19, 1995
Victorian's Secret
THE CULTIVATION OF HATRED The Bourgeois Experience: Victoria to Freud. Volume 3. By Peter Gay. Illustrated. 685 pp: New York: W. W. Norton & Company. $30.
September 5, 1993


'Reading Freud'
LEAD: To the Editor:
July 15, 1990


Books of The Times; Of Freud and His Obsession With the Enigmatic
LEAD: Reading Freud Explorations and Entertainments By Peter Gay 204 pages. Yale University Press. $24.95.
March 23, 1990

Books of The Times; Of Freud and His Obsession With the Enigmatic



Reading Freud
Explorations and Entertainments
By Peter Gay
204 pages. Yale University Press. $24.95.
In his monumental biography of Freud that appeared in 1988, the historian Peter Gay created a rich and compelling portrait of the father of psychoanalysis - a portrait that situated Freud's theories within a cultural and historical context and that explored the relationship of those theories to his own life. The reader came to know Freud ''the disappointed father, the concerned mentor, the anxious son,'' as well as Freud the fearless researcher - a man shaped by 19th-century values and ideals, and yet at the same time committed to the articulation of theories that would indelibly transform the 20th century.
Though the very thoroughness and erudition of that volume would seem to preclude any immediate follow-ups, Mr. Gay points out that ''as Freud has taught us, there is always more to know about people, even fully documented ones.'' He has accordingly produced this fascinating new collection of essays, which attempts to ''reduce the blank spots'' remaining on the map of Freud's mind - to ''appproach, and partly resolve, the mystery that is Freud.''
In the opening essay of this book, Mr. Gay notes that Freud himself was obsessed with unsolved mysteries and riddles: ''They troubled him as an unresolved chord troubles a musician. Conundrums did not just fascinate him; they tortured him.'' This ''compulsion to tackle engimas'' led him, toward the end, into two of the ''most eccentric commitments of his life, both revisionist in the extreme'' - his identification of Moses as an Egyptian and Shakespeare as the Earl of Oxford.
Why would Freud develop such an ardent interest in J. Thomas Looney's controversial book ''Shakespeare Identified'' (which laid out a detailed argument for Shakespeare's identity as the 17th Earl of Oxford)? In raising this question, Mr. Gay discounts Ernest Jones's well-known view that ''something in Freud's mentality led him to take a special interest in people not being what they seemed to be'' - that the idea of Shakespeare not being Shakespeare meshed with his childhood wish that he might have been the son of someone other than his impecunious father.
Instead, Mr. Gay identifies shared attitudes that would have made Freud receptive to Looney's ideas; and he discusses how Freud's preoccupation with the ''Shakespeare problem'' reflected his insatiable ''greed for knowledge'' - an ''urge to know'' that was, at least in part, erotic. As Mr. Gay sees it, this urge developed early on in Freud's life: in a large family (five sisters and two brothers), intellectual achievement was a means for young Sigmund to obtain his parents' attention. Figuring out the answers to important riddles -like the question of Shakespeare's identity - was an exercise ''through which he could reiterate his claim to paternal and, even more, maternal love.''
Similar applications of Freudian theory to Freud's own life are made in the essay titled ''Six Names in Search of an Interpretation,'' in which Mr. Gay attempts to analyze the signficance of Freud's choice of names for his children. Pointing out that Freud changed his own name from Sigismund to Sigmund, Mr. Gay argues that ''the bestowal of a name is an exercise of power.''
He goes on to note that Freud named his children after significant individuals in his own life. Mathilde was named after the wife of the Viennese internist Josef Breuer, who had assisted a young and poverty-stricken Freud. Jean Martin was named after the French neuropathologist Jean-Martin Charcot, whom Freud worked closely with in the 1880's. Oliver was named after his boyhood hero, Oliver Cromwell. Ernst was named after Ernst Brucke, in whose laboratory Freud worked for six happy years. Sophie was named after the niece of his former teacher and friend Samuel Hammerschlag, and Anna after one of Hammerschlag's daughters.
As Mr. Gay notes, these choices indicated a deviation from the Jewish tradition, popular in Central Europe, of naming children after deceased relatives: in this respect, he argues, they reflected Freud's irreligiosity, his tendency to see himself as a Jew within ''a larger mental world: that of the European scientific, most specifically the materialist, positivist mind.'' In addition, Mr. Gay suggests, Freud's decision to name so many of his children after father figures or members of their families underscored Freud's continuing struggle to come to terms with his own father; they served as a record of his own ''heroic and historic bid for inner freedom, a freedom that was the essential condition for his discoveries.''
The other essays in this book tend to be less detailed and somewhat less provocative than the two just mentioned. ''Freud and Freedom'' rehashes the idea of determinism in Freud's work - a subject previously addressed by Mr. Gay's biography, as well as other scholarly works, while ''Serious Jests'' rehashes many of Freud's thoughts on humor laid down by the master himself in ''Jokes and Their Relation to the Unconscious.''
The essay on Freud's relationship with his sister-in-law Minna Bernays comes to the hedged conclusion that they probably did not have an affair; and the one on Freud's reading habits comes to the hardly earth-shattering conclusion that the psychoanalyst had a penchant for seemingly conservative works with ''an undertone of rebelliousness'' (asked to assemble a list of 10 ''good'' books, he listed such volumes as Mark Twain's ''Sketches,'' Kipling's ''Jungle Book'' and Macaulay's ''Essays'').
As usual, Mr. Gay combines his authoritative knowledge of Freud's life and works with crisp, engaging prose. If some of the essays in this volume seem somewhat familiar, that is only because we already know so much about Freud from Mr. Gay's own previous biography. All in all, this is a delightful coda to that volume, and a lively and entertaining book on its own.
Photo: Peter Gay (Yale University)

Violence of Old Men vs. the Idealism of Youth
LEAD: To the Editor:
June 7, 1989


Of Sigmund and Minna
LEAD: To the Editor:
April 9, 1989


A Freudian Spoof Is Slipped Past Many Scholars
LEAD: In a case more reminiscent of Pirandello than of Freud, scholars of psychoanalysis are in a furor over an article by an eminent historian.
January 22, 1989



A Freudian Spoof Is Slipped Past Many Scholars




In a case more reminiscent of Pirandello than of Freud, scholars of psychoanalysis are in a furor over an article by an eminent historian.
Some say the historian, perhaps in league with a magazine editor, perpetrated a scholarly fraud. Others say a group of scholars mistook a spoof for an authentic historical document.
The article, by Peter Gay, a historian at Yale University who is the author of a recent biography of Freud, was published in Harper's magazine in 1981. It was ostensibly a review of Freud's book ''The Interpretation of Dreams'' by an anonymous contemporary of Freud. And it was written by Dr. Gay rather than translated by him, as the introductory remarks misleadingly stated.
In those remarks, Dr. Gay wrote that the article was a recent discovery from an obscure Austrian medical journal, adding, ''As far as I can discover, it has been wholly overlooked in the voluminous literature on Freud and appears here in English, in my translation and with my annotations, for the first time.'' The Scholars Jump In
Some Freud scholars seized upon the article as a new discovery. Since 1981 it has been cited in at least one scholarly article and photocopies have been pored over by the circle of scholars who specialize in Freud.
''A false document is like a computer virus - it gets into the literature and replicates,'' said Frank Sulloway, an intellectual historian who is author of a biography of Freud. ''If someone published a false review of Newton's Principia that sounded like it had been written by Leibnitz, it would be an outrage.''
The article was considered important because it appeared to reveal that a peer had given Freud's major opus a sympathetic reading at a time when the psychoanalyst himself was complaining that his book was being ignored. The Importance of Silence
Dr. Gay drew fire for not trying to set the record straight once he knew his article was being misread. ''The most important thing is his silence,'' said Peter Swales, a Freud historian who is Dr. Gay's chief accuser. ''When he realized scholars were taking it seriously, he should have made a pubic statement at once.''
''It never occurred to me to make a public statement about the article,'' Dr. Gay said. ''The whole thing was lighthearted - nothing but a joke.''
Some scholars disagree. ''A spoof is immediately recognizable as such,'' said Frederick Crews, a professor of English at the University of California at Berkeley. ''It abounds in signals allowing the reader to perceive it as a joke. A hoax contains no such signals; it becomes identifiable after the fact, when the perpetrator gets his laugh.
''This incident lacks an essential ingredient for a hoax, making it an apparent fraud. Nearly seven and a half years have passed since the ostensible review was published, and Gay has yet to make a public statement about it.'' Not Meant Seriously, He Says
Mr. Swales may be the only scholar who has actually cited the Harper's article in a scholarly work. Dr. Gay said he was aware that Mr. Swales had done so, but at the time ''it didn't occur to me to be a big thing.'' He also said that when he wrote the article ''it never occurred to me that anyone would take it seriously.''
Lewis Lapham, editor of Harper's, invited Dr. Gay to write the article for the magazine's ''Revisions'' series, in which modern writers reconsidered classics.
''One was I. F. Stone reviewing Plato as though it had just come out,'' said Mr. Lapham. ''But Gay took it a step further. He took on the persona of an earnest contemporary critic at the time - but it was just an elaboration of a device we had used before.''
Because Dr. Gay's article followed all the conventions of the scholarly translation it purported to be, the only direct clue to its true status was ''Revisions'' at the top of the page. That clue seems to have been missed or disregarded by the scholars who took the article seriously.
''It was written as a spoof, accepted as a spoof, and published as one,'' said Dr. Gay. ''But if you do parodies, you have to make it a little obvious it's a parody so people know, which I didn't do. But the context - it being in the series - makes it perfectly clear that I didn't discover the article.'' Hints? Winks? A New Debate
There was nothing in the article telling the reader that it was not the translation it purported to be. ''There are absolutely no winks to the reader that let you know this is a spoof, which seems recklessness or sheer imprudence on Harper's part,'' said Mr. Swales. ''Not everyone knows the subtleties of the magazine.''
Professor Crews said: ''Harper's as well as Professor Gay has some explaining to do. If he was having a bit of fun, the question is why Gay did not feel the most elementary obligation of a scholar to help his readers distinguish between truth and pretense.''
Mr. Lapham said no further signs had been necessary. ''Harper's has traditionally been more literary than scholarly,'' he said. ''We deal in irony and many other literary devices, and experiment with literary forms. Had this been in a magazine not geared to a literary audience accustomed to such devices, we would have been obliged to make it more obvious.''
Besides, he said, there were hints in the article itself that it was not authentic: ''For instance, the reviewer calls Freud 'the last romantic.' That would never have been said in a medical journal, and certainly not at the time. There are many anachronisms like that one, and an unbelievable prescience.'' Inspired to Look Closer
It was just those anachronisms and that prescience that finally made Mr. Swales question the article. He looked for the original article only within the last year when he felt a need to check the accuracy of part of the supposed translation. He wrote to Dr. Gay last October and received no reply.
Dr. Gay and Mr. Swales acknowledge that ''we are not exctly pen pals,'' as Dr. Gay put it. He said Mr. Swales' letter to him was ''nasty'' in tone and undeserving of a reply.
Dr. Gay said he had received only one or two other letters from scholars asking for a copy of the original article. He wrote them explaining that the article was a fabrication.
One who wrote Dr. Gay soon after the article was published was David James Fischer, a psychoanalyst who was then a historian at the University of Southern California. He congratulated Dr. Gay on his discovery and asked if he would send him a copy of the German original.
''He wrote back saying it was a joke and that I should have known better,'' Mr. Fischer said. ''But as a psychoanalyst, I know jokes have meanings. I have to ask, what's the meaning of the joke? That's something only Gay -and maybe his psychoanalyst -knows.''
Photo of Peter Gay, a historian.


The Age of Doubt;沒有神的宗教 Religion without God By Ronald Dworkin

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The Age of Doubt


Melvyn Bragg examines the spread of religious doubt over the last three centuries. Nietzsche proclaimed that God was Dead in 1882, Hegel in fact beat him to it apprising his Berlin students of God’s demise as early as 1827. By the end of the 19th century echoes of the death of God can be heard everywhere: in the revolutionary politics of Lenin, in the poetry of Tennyson and the psychoanalysis of Freud. The march of Science seemed to challenge the authority of the Bible at every turn and by the twentieth century almost all the great writers, artists and intellectuals had abandoned the certainty of their belief in God.So who or what was responsible for this sudden spread of religious doubt? If God could truly be said to be dead then who fired the first shot? Have we educated ourselves out of Christ only to embrace the bleaker creed of Mamon? Is God a human construct or did God construct us? Is there an argument from design, or was the Big Bang morally pointless, without what we could call a mind at all? Did Darwin and natural selection rebut the idea of a divine purpose? With A N Wilson, novelist, biographer, journalist and author of God’s Funeral; Victoria Glendinning, author, journalist and biographer of Anthony Trollope and Jonathan Swift.




Anthony Trollope, by the way, had a sister named Cecilia. She wrote a novel about a man tormented by Anglican angst. It's discussed in this episode of In Our Time about 300 years of religious doubt - Tennyson, Freud, Hegel, Nietzsche, Darwin, Lenin; they're all here. Your experts are A.N. Wilson and Victoria Glendinning. Fascinating - and entertaining - stuff.

With useful links to other programmes on related themes
BBC.IN




2015.5.19 梁先生贈,以後再讀。

沒有神的宗教

Religion without God

什麼是宗教,什麼是神之所在?
  什麼是死亡,而什麼又是不朽?
  究竟是神創造了宇宙?抑或,神就是宇宙?


  面對這樣的大哉問,或許僅能以「只有上帝曉得」(God knows)一語回答,但是當人們這麼回答問題時,是指他們認為該問題無人能回答。意即:假設如果上帝存在(If a god existed),祂就會知道任何人都不知道的事情。這樣的用法並不是針對一個非人格神而發。正相反,這樣的修辭力量皆是仰仗一個虛擬的人格神。

  德沃金認為,對上帝的信仰是一種層次更深的世界觀之展現,但不是唯一的一個,我們熟悉的二分法——把人分為有宗教信仰和沒宗教信仰兩大類——太粗糙了。本書欲闡明的即是:宗教的層次比上帝更深。宗教是一種深入內部、輪廓分明和涵蓋全面的世界觀︰它主張有本具(inherent)而客觀的價值滲透萬物,相信宇宙及其造物引人敬畏,認定人生具有目的而宇宙秩序井然。

  本書靈感源自愛因斯坦對宗教所主張的「不可知論」(Agnostic theism):

  「知道某種我們所不能參透的東西確實存在,知道這種東西把自己展現為最高智慧和最璀燦的美(我們遲鈍的官能只能了解其皮相)——這種知識,這種感覺,位居於一切真正宗教情懷(religiousness)的核心。在這個意義下(也唯有在這個意義下),我屬於有虔誠宗教信仰者之列。」

  作者從哲學、物理學及神學等角度剖析上帝的本質,並透過愛因斯坦、田立克、史賓諾莎等人的宗教和科學觀點來闡釋並佐證,「沒有神的宗教」所為何來。期盼這本小書有助於有神論與無神論兩者進行理性對話,同時化解對宗教的恐懼與仇恨。

作者介紹

作者簡介

羅納德.德沃金Ronald Dworkin


  美國著名法理學家、公共知識份子代表,曾任教於耶魯大學、牛津大學、紐約大學和倫敦大學,為當代新自然法學派代表人物。二○一三年二月十四日因病逝世,英國《衛報》在訃聞中將其與十九世紀世界上最重要的思想家之一斯圖爾特.密爾相提並論。著作包括《認真對待權利》(Taking Rights Seriously)、《法律帝國》(Law`s Empire)、《生命的自主權》(Life’s Dominion)、《民主是可能的嗎?》(Is Democracy Possible Here?)、《刺蝟的正義》(Justice for Hedgehogs)等。

譯者簡介

梁永安


  台灣大學文化人類學學士、哲學碩士,東海大學哲學博士班肄業。目前為專業翻譯者,共完成約近百本譯著,包括《文化與抵抗》(Culture and Resistance / Edward W. Said)、《啟蒙運動》(The Enlightenment / Peter Gay)、《現代主義》(Modernism:The Lure of Heresy / Peter Gay)等。

目錄

出版者識
第一章  宗教性無神論?
緒言
何謂宗教?形而上核心
宗教性科學與宗教性價值
神祕莫測和可理解性
非人格化的上帝:田立克、史賓諾莎和泛神論

第二章  宇宙
物理學與輝煌
美如何能指引科學研究?
這種美可能是什麼樣的美?
對稱是美?
宇宙的存在有可能是毫無道理可言的嗎?
別無選擇性與宇宙
別無選擇性之美

第三章  宗教自由
憲法的挑戰
宗教自由只跟信哪個神或是否信神有關嗎?
失控的自由?
宗教自由的內部衝突
宗教自由的權利只有一種嗎?
新宗教戰爭

第四章    死亡與永生

湯恩比 (Arnold Toynbee 1889-1975)《》

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http://www.answers.com/topic/arnold-j-toynbee
brief Lives, OUP, 1999 內的 Arnold  Toynbee 文末說他的最大榮譽來自母笑(中學)的Ad Portas 獎--他以完全拉丁文的演講報答之
http://www.winchestercollege.org/traditions:


Arnold J. Toynbee Writing Styles in A Study of History

Style

Simile and Analogy

Toynbee frequently makes use of similes and analogies in which two apparently dissimilar things are compared. The purpose of these similes is to enable the reader to visualize the concept that is being presented and make it easier to grasp. One extended simile recurs at several points in the book, and that is Toynbee's comparison of civilizations to humans climbing a mountain. Primitive civilizations are like people lying asleep on a ledge with a precipice below and a precipice above. No further progress is possible for them. Arrested civilizations are like climbers who have reached a certain height but now find themselves blocked; they can go neither forward nor backward. Civilizations that are ready to grow, however, are like climbers who have just risen to their feet and are beginning to climb the face of the cliff. They cannot stop until they either fall back...
湯恩比 (Arnold  Toynbee 1889-1975)

讓我們借用阿諾德湯恩比著名的攀岩者形像來說,在啟蒙運動時代,西方文明的確開始不牢靠地向上摸索一個新的立足點,而今天它仍在那裡。
--- Peter Gay《啟蒙時代》前言 (克蘭 布林頓),1966,


[Arnold J. Toynbee, G. R. Urban著]
王少如,沈晓红譯
湯恩比 (Toynbee, Arnold Joseph, 1889-1975)
row for fieldtag=p 1989
“All that is transitory is but a metaphor.”
― Johann Wolfgang von Goethe

的末篇讀它引哥德此句
然後她說他的一生的"隱喻"

Author Name Toynbee Arnold J.

Title Between Oxus And Jumna

Book Condition 211pp,

Edition 1963 First Edition

Publisher Readers Union 1963



Amu Darya - Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Amu_Darya

In classical antiquity, the river was known as the Ōxus in Latin and Ὦξος Oxos in Greek—a clear derivative of Vakhsh — the name of the largest tributary of the ...

Yamuna

 (yä`mənə) or 

Jumna

 (jŭm`nə), river, c.850 mi (1,370 km) long, rising in the Himalayas, N India, and flowing generallySE, through the Shiwalik Range, past Delhi, to the Ganges River at Allahabad, Uttar Pradesh state; the Chambal and Betwa rivers are itsmain tributaries. 

Ad Portas

This ceremony is a development from the official welcome accorded to the examiners from New College on their arrival for the annual visit to elect Scholars to our sister foundation in Oxford. In 1615 Mrs Letitia Williams, a lady with strong Wiccamical connections (her brother was First on the Roll in 1605) and Royalist sympathies, had instituted a payment of 13s 4d to the Scholar who delivered the speech. Members of the Royal Family and the Bishops of Winchester had also been greeted over the centuries with formal speeches 'at the gates' and the practice of honouring the Monarch and senior members of the Royal Family continues today, in addition to honouring exceptional Old Wykehamists.
In 1873 the welcome to the New College examiners came to an end. Nevertheless, in the same year the Lord Chancellor, Lord Selborne, was received in similar style. In 1881 the practice of Ad Portas was formally revised, and that is the pattern we use today. It became from that time the highest honour that the College bestows. A significant feature of the revision was the inclusion of the 'Oratio ad Portas' by the Aulae Prae i.e. the Prefect of Hall (Senior Scholar).

A ceremony that has enjoyed such a curious history of necessity, formality and contrivance inevitably has at times given honorands pause for thought, particularly when they were expected to reply to the Prefect of Hall's speech in Latin! There have been forty-nine Receptions Ad Portas since 1873: in the course of these there have been eighteen responses in Latin, one in Latin and Greek, twenty in English, one in Marathi and ten in English and Latin.

The ceremony takes place in Chamber Court and the whole community attends.


湯恩比/陀音貝: : "一個民族的自殺--述一個英國學者的預言"

1926年胡適訪問英國 與湯恩比(Arnold Toynbee 1889-1975)相談
對他的國際事務觀很佩服 (到過他家 主人建議胡適研究土耳其/拜占庭的組織與現代化---這湯恩比自己寫過)
1934年4月28 胡適有一篇 "一個民族的自殺--述一個英國學者的預言" (年譜長編 1219-1222)
文中將湯恩比寫為陀音貝


中國文明與世界 --湯恩比的中國觀
山本新 秀村欣二編
北京:東方
1988

Works

  • The Armenian Atrocities: The Murder of a Nation, with a speech delivered by Lord Bryce in the House of Lords (Hodder & Stoughton 1915)
  • Nationality and the War (Dent 1915)
  • The New Europe: Some Essays in Reconstruction, with an Introduction by the Earl of Cromer (Dent 1915)
  • Contributor, Greece, in The Balkans: A History of Bulgaria, Serbia, Greece, Rumania, Turkey, various authors (Oxford, Clarendon Press 1915)
  • Editor, The Treatment of Armenians in the Ottoman Empire, 1915-1916: Documents Presented to Viscount Grey of Fallodon by Viscount Bryce, with a Preface by Viscount Bryce (Hodder & Stoughton and His Majesty's Stationery Office, 1916)
  • The Destruction of Poland: A Study in German Efficiency (1916)
  • The Belgian Deportations, with a statement by Viscount Bryce (T. Fisher Unwin 1917)
  • The German Terror in Belgium: An Historical Record (Hodder & Stoughton 1917)
  • The German Terror in France: An Historical Record (Hodder & Stoughton 1917)
  • Turkey: A Past and a Future (Hodder & Stoughton 1917)
  • The Western Question in Greece and Turkey: A Study in the Contact of Civilizations (Constable 1922)
  • Introduction and translations, Greek Civilization and Character: The Self-Revelation of Ancient Greek Society (Dent 1924)
  • Introduction and translations, Greek Historical Thought from Homer to the Age of Heraclius, with two pieces newly translated by Gilbert Murray (Dent 1924)
  • Contributor, The Non-Arab Territories of the Ottoman Empire since the Armistice of the 30th October, 1918, in H. W. V. Temperley (editor), A History of the Peace Conference of Paris, Vol. VI (Oxford University Press under the auspices of the British Institute of International Affairs 1924)
  • The World after the Peace Conference, Being an Epilogue to the “History of the Peace Conference of Paris” and a Prologue to the “Survey of International Affairs, 1920-1923” (Oxford University Press under the auspices of the British Institute of International Affairs 1925). Published on its own, but Toynbee writes that it was “originally written as an introduction to the Survey of International Affairs in 1920-1923, and was intended for publication as part of the same volume”.
  • With Kenneth P. Kirkwood, Turkey (Benn 1926, in Modern Nations series edited by H. A. L. Fisher)
The Conduct of British Empire Foreign Relations since the Peace Settlement (Oxford University Press under the auspices of the Royal Institute of International Affairs 1928)
  • A Journey to China, or Things Which Are Seen (Constable 1931)
  • Editor, British Commonwealth Relations, Proceedings of the First Unofficial Conference at Toronto, 11-21 September 1933, with a foreword by Robert L. Borden (Oxford University Press under the joint auspices of the Royal Institute of International Affairs and the Canadian Institute of International Affairs 1934)
  • A Study of History
    • Vol I: Introduction; The Geneses of Civilizations
    • Vol II: The Geneses of Civilizations
    • Vol III: The Growths of Civilizations
(Oxford University Press 1934)
  • Editor, with J. A. K. Thomson, Essays in Honour of Gilbert Murray (George Allen & Unwin 1936)
  • A Study of History
    • Vol IV: The Breakdowns of Civilizations
    • Vol V: The Disintegrations of Civilizations
    • Vol VI: The Disintegrations of Civilizations
(Oxford University Press 1939)
歴史の研究 A. J. トインビー(Arnold J. Toynbee)著
「歴史の研究」刊行会翻訳
湯恩比 (Toynbee, Arnold Joseph, 1889-1975)
歷史之硏究
湯比(Arnold Joseph Toynbee)著 鍾建閎譯

1977
歷史硏究
Arnold J.Toynbee著 陳曉林譯 Li shih yen chiu

1987
歷史的硏究
(英)湯恩比(Toynbee, Arnold Joseph 1889-1975) 林綠譯

1983
文明經受著考驗
[英]湯因比(A.J.Toynbee)著
沉輝,趙一飛,尹煒譯 Wen ming ching shou che k'ao yen

1988

  • The Prospects of Western Civilization (New York, Columbia University Press 1949). Lectures delivered at Columbia University on themes from a then-unpublished part of A Study of History. Published “by arrangement with Oxford University Press in an edition limited to 400 copies and not to be reissued”.
  • Albert Vann Fowler (editor), War and Civilization, Selections from A Study of History, with a preface by Toynbee (New York, Oxford University Press 1950)
  • Introduction and translations, Twelve Men of Action in Greco-Roman History (Boston, Beacon Press 1952). Extracts from Thucydides, Xenophon, Plutarch and Polybius.
  • The World and the West (Oxford University Press 1953). Reith Lectures for 1952.
  • A Study of History
    • Vol VII: Universal States; Universal Churches
    • Vol VIII: Heroic Ages; Contacts between Civilizations in Space
    • Vol IX: Contacts between Civilizations in Time; Law and Freedom in History; The Prospects of the Western Civilization
    • Vol X: The Inspirations of Historians; A Note on Chronology
(Oxford University Press 1954)

現代世界與宗教
湯恩比(Toynbee, Arnold Joseph 1889-1976)撰
項退結編譯 Hsien tai shih chieh yü tsung chiao

1975

  • D. C. Somervell, A Study of History: Abridgement of Vols VII-X, with a preface by Toynbee (Oxford University Press 1957)
  • Christianity among the Religions of the World (New York, Scribner 1957; London, Oxford University Press 1958). Hewett Lectures, delivered in 1956.
世界諸宗教中的基督教 湯恩比
(Arnold Joseph Toynbee 1889-1975)著
陳明福,鄭志岳合譯 Shih chieh chu tsung chiao chung te chi tu chiao

1976
  • Democracy in the Atomic Age (Melbourne, Oxford University Press under the auspices of the Australian Institute of International Affairs 1957). Dyason Lectures, delivered in 1956.
  • East to West: A Journey round the World (Oxford University Press 1958)
  • Hellenism: The History of a Civilization (Oxford University Press 1959, in Home University Library)
  • With Edward D. Myers, A Study of History
    • Vol XI: Historical Atlas and Gazetteer
(Oxford University Press 1959)
  • D. C. Somervell, A Study of History: Abridgement of Vols I-X in one volume, with a new preface by Toynbee and new tables (Oxford University Press 1960)
  • A Study of History
    • Vol XII: Reconsiderations
(Oxford University Press 1961)
  • Between Oxus and Jumna (Oxford University Press 1961)
  • America and the World Revolution (Oxford University Press 1962). Public lectures delivered at the University of Pennsylvania, spring 1961.
  • The Economy of the Western Hemisphere (Oxford University Press 1962). Weatherhead Foundation Lectures delivered at the University of Puerto Rico, February 1962.
  • The Present-Day Experiment in Western Civilization (Oxford University Press 1962). Beatty Memorial Lectures delivered at McGill University, Montreal, 1961.
The three sets of lectures published separately in the UK in 1962 appeared in New York in the same year in one volume under the title America and the World Revolution and Other Lectures, Oxford University Press.
  • Universal States (New York, Oxford University Press 1963). Separate publication of part of Vol VII of A Study of History.
  • With Philip Toynbee, Comparing Notes: A Dialogue across a Generation (Weidenfeld & Nicolson 1963). "Conversations between Arnold Toynbee and his son, Philip … as they were recorded on tape."
  • Between Niger and Nile (Oxford University Press 1965)
  • Hannibal's Legacy: The Hannibalic War's Effects on Roman Life
    • Vol I: Rome and Her Neighbours before Hannibal's Entry
    • Vol II: Rome and Her Neighbours after Hannibal's Exit
(Oxford University Press 1965)
  • Change and Habit: The Challenge of Our Time (Oxford University Press 1966). Partly based on lectures given at University of Denver in the last quarter of 1964, and at New College, Sarasota, Florida and the University of the South, Sewanee, Tennessee in the first quarter of 1965.
  • Acquaintances (Oxford University Press 1967)


  • Between Maule and Amazon (Oxford University Press 1967)
  • Editor, Cities of Destiny (Thames & Hudson 1967)
  • Editor and principal contributor, Man's Concern with Death (Hodder & Stoughton 1968)
  • Editor, The Crucible of Christianity: Judaism, Hellenism and the Historical Background to the Christian Faith (Thames & Hudson 1969)
  • Experiences (Oxford University Press 1969)

  • Some Problems of Greek History (Oxford University Press 1969)
  • Cities on the Move (Oxford University Press 1970). Sponsored by the Institute of Urban Environment of the School of Architecture, Columbia University.
  • Surviving the Future (Oxford University Press 1971). Rewritten version of a dialogue between Toynbee and Professor Kei Wakaizumi of Kyoto Sangyo University: essays preceded by questions by Wakaizumi.
  • With Jane Caplan, A Study of History, new one-volume abridgement, with new material and revisions and, for the first time, illustrations (Thames & Hudson 1972)
  • Constantine Porphyrogenitus and His World (Oxford University Press 1973)
  • Editor, Half the World: The History and Culture of China and Japan (Thames & Hudson 1973)
半個世界 /湯恩比眼中的東方世界
湯恩比(Arnold Toynbee)編 梅寅生譯


1990 1992

  • Toynbee on Toynbee: A Conversation between Arnold J. Toynbee and G. R. Urban (New York, Oxford University Press 1974)
汤因比论汤因比 汤因比与厄本对话录
[Arnold J. Toynbee, G. R. Urban著]
王少如,沈晓红譯
湯恩比 (Toynbee, Arnold Joseph, 1889-1975)
row for fieldtag=p 1989
“All that is transitory is but a metaphor.”
Johann Wolfgang von Goethe

的末篇讀它引哥德此句
然後她說他的一生的"隱喻"
  • Mankind and Mother Earth: A Narrative History of the World (Oxford University Press 1976), posthumous

人类与大地母亲
阿诺德.汤因比(Arnold J. Toynbee)著 徐波等译
譯文差
 這本書是遺作 1976
結論是1973年寫的一篇"以史為鑑"


史家湯恩比(1889-1975)在1973年(文革後)有篇《撫今追昔,以史為鑑》被收入他的遺著《人類與大地母親》(1976)當總結。這篇的內容有許多可以參考的
「機械化正在使工業生產更為物質化,並以減少人對精需要的滿足作為代價,這造就成工人的不安定和工作質量標準的下降。」(頁526)

「在工業革命時代的人類文明世界中,人類之愛應擴展到生物圈中的一切成員,包括生物和無生物。(頁528)

1992
  • Richard L. Gage (editor), The Toynbee-Ikeda Dialogue: Man Himself Must Choose (Oxford University Press 1976), posthumous. The record of a conversation lasting several days.
展望21世紀 湯因比與池田大作對談集
阿諾爾德. J. 湯因比(Arnold J. Toynbee),池田大作原著 正因文化事業有限公司編譯

  • E. W. F. Tomlin (editor), Arnold Toynbee: A Selection from His Works, with an introduction by Tomlin (Oxford University Press 1978), posthumous. Includes advance extracts from The Greeks and Their Heritages.
  • The Greeks and Their Heritages (Oxford University Press 1981), posthumous
  • Christian B. Peper (editor), An Historian's Conscience: The Correspondence of Arnold J. Toynbee and Columba Cary-Elwes, Monk of Ampleforth, with a foreword by Lawrence L. Toynbee (Oxford University Press by arrangement with Beacon Press, Boston 1987), posthumous
  • The Survey of International Affairs was published by Oxford University Press under the auspices of the Royal Institute of International Affairs between 1925 and 1977 and covered the years 1920-1963. Toynbee wrote, with assistants, the Pre-War Series (covering the years 1920-1938) and the War-Time Series (1938-1946), and contributed introductions to the first two volumes of the Post-War Series (1947-1948 and 1949-1950). His actual contributions varied in extent from year to year.
  • A complementary series, Documents on International Affairs, covering the years 1928-1963, was published by Oxford University Press between 1929 and 1973. Toynbee supervised the compilation of the first of the 1939-1946 volumes, and wrote a preface for both that and the 1947-1948 volume.

1952Arnold J. Toynbee, The World and the West
這次的演講在Arnold J. Toynbee的回憶錄Experiences (Oxford University Press 1969)沒提
主要作者Toynbee, Arnold Joseph, 1889-1975
書名/作者The world and the West / by Aronld Toynbee
出版項London : Oxford University press, 1957
e
世界與西方 湯比(Arnold Joseph Toynbee)撰 鍾建閎譯
湯恩比 (Toynbee, Arnold Joseph, 1889-1975)
1953

Experiences這本書是作者80大壽的第二本回憶錄
第一本 DA3 T668
主要作者Toynbee, Arnold Joseph, 1889-1975
書名/作者Acquaintances / by Arnold J. Toynbee
出版項London : Oxford U.P., 1967

文明是怎樣創造的 (英)湯恩比(Toynbee, Arnold J.)撰 于平凡譯
湯恩比 (Toynbee, Arnold Joseph, 1889-1975)
1970


Peter Gay《啟蒙時代》Age of Enlightenment

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Age of Enlightenment (Great Ages of Man): Peter Gay ...

www.amazon.com/Age-Enlightenment-Great-Ages-Man/.../0809403684
Age of Enlightenment (Great Ages of Man) [Peter Gay
Peter Gay《啟蒙時代》北京:中國言實,2005

Age of Enlightenment (Great Ages of Man)

Age of Enlightenment (Great Ages of Man)


Great Ages of Man series from Time-Life Books, this volume featuring The Age of Enlightenment.













Arnold J. Toynbee Writing Styles in A Study of History

Style

Simile and Analogy

Toynbee frequently makes use of similes and analogies in which two apparently dissimilar things are compared. The purpose of these similes is to enable the reader to visualize the concept that is being presented and make it easier to grasp. One extended simile recurs at several points in the book, and that is Toynbee's comparison of civilizations to humans climbing a mountain. Primitive civilizations are like people lying asleep on a ledge with a precipice below and a precipice above. No further progress is possible for them. Arrested civilizations are like climbers who have reached a certain height but now find themselves blocked; they can go neither forward nor backward. Civilizations that are ready to grow, however, are like climbers who have just risen to their feet and are beginning to climb the face of the cliff. They cannot stop until they either fall back...
湯恩比 (Arnold  Toynbee 1889-1975)

讓我們借用阿諾德湯恩比著名的攀岩者形像來說,在啟蒙運動時代,西方文明的確開始不牢靠地向上摸索一個新的立足點,而今天它仍在那裡。
--- Peter Gay《啟蒙時代》前言 (克蘭 布林頓),1966,


[Arnold J. Toynbee, G. R. Urban著]
王少如,沈晓红譯
湯恩比 (Toynbee, Arnold Joseph, 1889-1975)
row for fieldtag=p 1989
“All that is transitory is but a metaphor.”
― Johann Wolfgang von Goethe

的末篇讀它引哥德此句
然後她說他的一生的"隱喻"

《沒有個性的人》 By Robert Musil 《穆齊爾散文》

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亂倫曾經是文學的一大關注(穆齊爾[Musil]和納博科夫[Nabokov]的作品都是箇中例子),但此景看來已經不再。我好奇理由何在。大概是因為人們已不再把性愛視為一種準宗教經驗(quasi-religious experience),也因此不再把亂倫視為一種對諸神的挑釁。JM Coetzee


《穆齊爾散文》
作者(奧)穆齊爾 /  張榮昌(編選) 
出版社:  人民文學出版社
譯者吳曉樵 /  徐暢 
出版年:  2008-12-1
頁數:  338

作者簡介  · · · · · ·

羅伯特·穆齊爾(1880-1942),奧地利作家。在二十世紀現代派文學中具有重要地位。代表作有長篇小說《學生特爾萊斯的困惑》《沒有個性的人》(未完成),短篇小說集《三個女人》,散文集《在世遺作》等。

目錄  · · · · · ·


隨筆
藝術中的傷風敗俗和病態
中篇小說
關於羅伯特·穆齊爾的書
數學的人
詩人之認識隨札
布里丹的奧地利人
精神與經驗
無救的歐洲或從第一百到第一千的旅行
如何幫助詩人
郊區客棧
集約主義——摘自一本給富裕起來的人們寫的未出版的藝術手冊
您在做什麼?——羅伯特·穆齊爾訪談
為凱爾的六十歲壽辰而作
弗蘭茨·布萊——六十歲壽辰

批評
畢希納的《丹東之死》
詩人在電話機旁
萊因哈特來到維也納
阿圖爾·施尼茨勒的《誘騙的喜劇》

演說
在裡爾克紀念會上的講話
詩人在這個時代——為慶祝奧地利德國作家保護協會成立兩週年而作的報告(維也納)
巴黎報告——在國際作家大會上為捍衛文化而作
論愚蠢——應奧地利工藝聯盟之邀而作的報告

在世遺作
前言
圖像集
捕蠅紙
猴島
波羅的海岸邊的漁夫
通貨膨脹
馬會笑嗎?
被喚醒的人
換一種眼光看羊
棺材蓋
兔子的災難
老鼠
耳聰
斯洛文尼亞鄉村葬禮
少女與英雄
“永遠不再”膳宿公寓

不友好的觀察
黑色魔術
房門與大門
紀念碑
畫師
一個文化問題
周圍盡人皆是詩人和哲學家
藝術週年慶典
望遠鏡
這裡真美
誰將你,美麗的森林?
受到威脅的俄狄浦斯

小小故事
巨人阿果阿戈
一個沒有個性的人
三個世紀的故事
兒童故事
烏鶇




明目讀書會:江老師、賴先生、中時副刊主編、洪老師。
台大圖書館英文本:
主要作者Musil, Robert, 1880-1942  
劃一題名Mann ohne Eigenschaften. English  
書名/作者The man without qualities / Robert Musil ; translated from the German by Sophie Wilkins ; editorial consultant, Burton Pike  
出版項New York : AA Knopf : Distributed by Random House, 1995 
版本項1st American ed
I. A sort of introduction and Pseudo reality prevails -- II. Into the millenium

 穆基(Musil)《沒有特點的人》(我知道有簡體字版,台灣還沒人出版,書厚達一千頁「而已」。)
hc 報告:
明目書社的每月讀書會將於四月討論此書,由中研院江日新老師主持:4 月6日, 2006
Robert  Musil 『沒有個性的人』(Der Mann Ohne Eigenschaften )張榮昌譯,北京:作家出版社,2000

5月4日
明目書社讀書會1330-1500 Robert Musil 『沒有個性的人』(Der Mann Ohne Eigenschaften )pp.1-180【向前推進80頁】

介紹 Musil 是哲學博士。德國出版業與作家。


穆齊爾的【沒有個性的人】書影與他的本人照片。

China’s Publishers Court America as Its Authors Scorn Censorship

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China’s Publishers Court America as Its Authors Scorn Censorship


Protesters, including some Chinese writers, at the New York Public Library this week while a Chinese publishing delegation attended BookExpo only blocks away.

A few years ago, the Chinese writer Murong Xuecun had the kind of career most novelists dream about. His eight books had sold two million copies in China, and he had amassed more than eight million social media followers.
But in 2011, he decided to stop publishing. He was afraid of running afoul of Chinese censors, and was even more concerned about the self-censorship that had crept into his work. Now he wishes he had never published some of his earlier books, which tiptoed around political issues.
  • 查看大图Cui Tiankai, the Chinese ambassador to the United States, at BookExpo in Manhattan, to which China sent 500 delegates from publishing houses and 26 authors.
    Mary Altaffer/Associated Press
    Cui Tiankai, the Chinese ambassador to the United States, at BookExpo in Manhattan, to which China sent 500 delegates from publishing houses and 26 authors.
“When I look back on them, I feel ashamed of myself,” said Mr. Murong, 41, who lives in Beijing and whose real name is Hao Qun.
Mr. Murong was among a handful of writers who gathered on the steps of the New York Public Library on Wednesday night to protest the limits on free speech and expression in China. The gathering, organized by thePEN American Center, was prompted by the presence of a large delegation of Chinese publishers at BookExpo America, a major publishing trade event taking place in Manhattan this week.
The juxtaposition was striking. This week, thousands of booksellers, librarians, publishers and authors mingled at BookExpo, at the Jacob K. Javits Convention Center, where Chinese publishers were being feted as international guests of honor. To mark the event, the Chinese government sent a 500-person delegation from 100 publishing houses, and 26 of its top authors. Chinese publishers claimed close to 25,000 square feet of floor space at the hall and planned 50 events around the city, including poetry readings, film screenings, author panels and presentations from its largest publishers.
Not many blocks away, Mr. Murong stood on the library steps and read aloud from an open letter he had written to Chinese censors in 2013, after his social media account was blocked and its contents deleted. “You treat literature as poison and free speech as a crime,” he said.
He was joined by prominent American writers like Jonathan Franzen, Paul Auster, Francine Prose and A. M. Homes, and by the China-born novelists Ha Jin and Xiaolu Guo. They took turns reading works by Chinese authors who are in prison or under house arrest for their writing, including the Tibetan poet Tsering Woeser, the writer Liu Xia and her husband, the poet and Nobel Peace Prize winner Liu Xiaobo, who is serving an 11-year prison sentence for subversion.
“There are all of these writers in China who are in jeopardy for expressing themselves, and if you have a government-sanctioned delegation, you’re only getting part of the story,” said Suzanne Nossel, executive director of the PEN American Center, an organization that promotes free speech.
BookExpo’s organizers called China’s featured role at the expo an unprecedented and historic meeting between the world’s two largest publishing industries.
“We’re going to remember this for a generation, because it’s going to be the beginning of opening some doors,” said Steve Rosato, the event director for BookExpo. He said the event was not an appropriate forum to address censorship.
“We’re not in the position to do anything around that,” he said when asked about PEN America’s objections. “China is a significant market and they represent a significant trade opportunity.”
China’s prominence at this year’s BookExpo highlights both the growing interplay between Chinese publishers and the international literary community, and the difficulties of doing business when standards for freedom of expression differ significantly.
China has accelerated its effort to export books and authors as part of a broader strategy to exert “soft power” by raising its cultural profile internationally. Chinese publishers have heavily promoted their catalogs at the London and Frankfurt book fairs in recent years.
Major deals are taking place between American and Chinese content companies. Earlier this year, the American e-book distributor Trajectory signed a deal with a Chinese digital company, Tencent, to distribute Tencent’s catalog of 200,000 Chinese e-books in North and South America.
“Western publishers are interested in getting access to the Chinese market, and the Chinese government is interested in getting more authors known in the West,” said Jeffrey N. Wasserstrom, a history professor at the University of California, Irvine, and author of “China in the 21st Century.”
Some American publishers say that their business is booming in China and that they have not faced significant government interference.
“The Chinese appetite for Western books is really impressive,” said Niko Pfund, president of Oxford University Press. “I’ve been amazed and pleasantly surprised by how smooth and uncomplicated it has been.”
The Chinese book business has ballooned into an $8 billion industry, the second largest after the United States. Chinese publishers released 444,000 titles in 2013, up from around 328,000 in 2010. The country is adding around 20 million new English speakers a year.
Chinese publishers have been eagerly acquiring Western titles, especially by British and American authors. In 2013, they bought the rights to more than 16,000 foreign books, including nearly 5,500 from America, more than double the number purchased a decade earlier. HarperCollins exported around 9,700 English-language titles to China in 2014, and cites China as one of its fastest growing international markets. Business books and children’s books are among the most popular categories, it says.
Penguin Random House said that it exported more than 50,000 of its English-language print and e-book editions to China annually.
“Chinese people are very curious about culture in other countries,” Wu Xiaoping, president of Phoenix International Publishing Group, said in an interview through a translator after appearing on a panel at BookExpo. “There will be more and better relationships between Chinese and U.S. publishers.”
When asked whether certain topics were off limits for writers and if his publishing house adhered to government guidelines, he replied, “No comment.”
In China, censorship — and, more commonly, self-censorship — has long been a feature of the publishing industry, which is controlled by the ruling Communist Party. The government’s roughly 580 state-run publishing houses ensure that domestic fare does not broach so-called sensitive topics: gay rights, the discontent of China’s ethnic minorities, and the bloody crackdown on pro-democracy protests of 1989.
“Chinese censorship works before the writer even starts writing,” said Bao Pu, publisher of the New Century Press in Hong Kong, who participated in the PEN event. “Why write a piece that you know will never get published?”
Western writers who publish their work in China are not immune to the country’s more rigid standards. Some, like the scholar Ezra F. Vogel, have reluctantly cooperated with publishing house censors. The mainland Chinese version of his biography on Deng Xiaoping omitted a number of adjectives about Mao Zedong and entire passages about Deng, but Mr. Vogel has said that the deletions were necessary to reach an audience hungry for mostly unexpurgated history about their country.
In a few cases, writers have backed out of publishing deals rather than submit to censorship. Evan Osnos, the author of “Age of Ambition,” a book about economic and social change in China, decided not to publish a translation in mainland China after editors there told him they would delete references to the artist Ai Weiwei and Mr. Liu, the jailed Nobel Peace Prize winner. “To me, making those cuts wouldn’t be engaging Chinese readers, it would be isolating them,” he said in an email.
Other writers were never consulted about changes made to their work, and learned only after publication. The writer Andrew Solomon was infuriated to learn that “The Noonday Demon,” his book about depression, had been altered without his approval, omitting his references to being gay.
“I think there’s a suggestion that because China is an enormous market, we have to defer to the Chinese internal standards of censorship,” Mr. Solomon said. “It’s somewhere between naïve and hypocritical to engage with China and not acknowledge the severity of this problem.”
Andrew Jacobs contributed from Beijing.

紐約書展中國走紅,中國作家抗議出版審查

本周,紐約公共圖書館門前的抗議者,其中還包括一些中國作家。幾個街區外,紐約書展正在舉行。
Sam Hodgson for The New York Times
本周,紐約公共圖書館門前的抗議者,其中還包括一些中國作家。幾個街區外,紐約書展正在舉行。
幾年前,中國作家慕容雪村取得了大多數小說家夢寐以求的事業成就。他寫的八本書在中國賣出了200萬冊,他的社交媒體賬戶吸引了逾800萬名粉絲。
但在2011年,他決定停止出版書籍,他擔心與中國審查機構起衝突,甚至更擔心已經侵入他作品的自我審查。他現在想,自己當初不應該出版某些早期的作品,那些作品小心翼翼地避開了政治議題。
今年41歲的慕容雪村說,「當我回過頭看這些書時,感到很慚愧。」慕容雪村住在北京,本名郝群。
周三晚間,數名作家聚集在紐約公共圖書館(New York Public Library)的台階上,抗議中國限制言論自由和表達的舉措,慕容雪村也在其中。龐大的中國出版商代表團來到曼哈頓,參加於本周舉辦的重要出版業活動美國書展(BookExpo America)。中國代表團的到來,促使美國筆會中心(PEN American Center)組織作家參加這次集會。
兩種活動的並置產生了鮮明的反差。本周,數以千計的書商、圖書館負責人、出版商和作家匯聚在雅各布·K·賈維茨會議中心(Jacob K. Javits Convention Center)參加書展,中國出版商作為國際貴賓受到盛情招待。為了慶祝這一活動,中國政府派出了由100家出版公司的500名人員及26名頂級作家組成的代表團參展。中國出版商在展廳中佔據了大約2.5萬平方英尺(約合2300平方米)的展位,還計劃在全市各地舉辦50場活動,包括詩歌朗誦、電影放映、作家座談及大型出版商的展示活動。
在距離該中心幾個街區遠的地方,慕容雪村站在圖書館的台階上,大聲朗讀2013年自己的社交媒體賬號被禁,內容被刪除後寫給中國監管機構的公開信。他說,「你們把文學當成毒藥,把言論當成犯罪。」
與他一同抗議的有喬納森·弗蘭岑(Jonathan Franzen)、保羅·奧斯特(Paul Auster)、弗朗辛·普羅斯(Francine Prose)和A·M·霍姆斯(A.M. Homes)等美國作家,以及在中國出生的小說家哈金和郭小櫓。他們輪流朗讀因為寫作而被監禁或軟禁的中國作家的作品,比如藏族詩人茨仁唯色(Tsering Woeser),作家劉霞及丈夫——詩人、諾貝爾和平獎得主劉曉波。劉曉波以顛覆國家罪被判11年監禁,目前正在服刑。
美國筆會的負責人蘇珊·諾塞爾(Suzanne Nossel)表示,「有那麼多中國作家因為自我表達而陷入危險,如果請來一個政府支持的代表團,那你只能聽到故事的一部分。」該組織提倡言論自由。
書展的組織者稱,中國在書展上扮演重要角色,代表着世界上兩大出版產業前所未有的歷史性會面。
書展活動總監史蒂夫·羅薩托(Steve Rosato)說,「整整一代人都會記住這場活動,因為這將是開啟某些大門的起點。」他表示,該活動不是討論審查問題的恰當場合。
「我們不適合針對那個問題做任何事,」他在被問及美國筆會的目標時說。「中國是一個重要的市場,他們代表着重要的貿易機會。」
中國在今年書展中的顯着地位突顯了中國出版商與國際文學界日益加強的相互作用,以及在言論自由標準存在巨大差異的情況下開展商業合作的難度。
為了在國際上提升文化形象,從而發揮「軟實力」,中國加快了出口圖書、推廣作家的步伐。中國出版商最近幾年在倫敦及法蘭克福書展上都大力推廣他們的書目。
美國和中國的內容出版公司進行了一些重大交易。今年早些時候,美國電子書經銷商Trajectory與中國數碼公司騰訊簽訂了一項協議,打算在北美和南美銷售騰訊的20萬本中文電子書。
加州大學歐文分校的歷史教授華志堅(Jeffrey N. Wasserstrom)說,「西方出版商有進入中國市場的興趣,中國政府也想讓西方了解更多的中國作家。」華志堅著有《21世紀的中國》(China in the 21st Century)。
一些美國出版商稱,他們的業務在中國得到了迅猛發展,而且他們並未受到政府的大力干涉。
「中國對西方圖書的興趣真的令人印象深刻,」牛津大學出版社(Oxford University Press)社長尼科·豐德(Niko Pfund)說。「事情的順利和便捷讓我又驚又喜。」
中國的圖書產業迅速發展成了一個價值80億美元(約合496億元人民幣)的行業,其規模僅次於美國,在世界上排名第二。2013年,中國出版商推出了44.4萬本書,而2010年僅有大概32.8萬本。每年,中國都會新增約2000萬名會講英語的人。
中國出版商一直在積極引進西方圖書,尤其是英國和美國作家的書。2013年,它們購買了16000餘本外國圖書的版權,其中將近5500本來自美國,與10年前的購買量相比增加了一倍還多。2014年,哈珀科林斯(Harper Collins)向中國輸出了大約9700本英文圖書,並指出中國是它增長最快的國際市場之一。它說,商業書籍和兒童圖書最受歡迎。
企鵝蘭登書屋(Penguin Random House)稱,它每年會向中國出口5萬餘本英文紙質書和電子書。
「中國人對外國文化非常好奇,」鳳凰國際出版公司(Phoenix International Publishing Group)總經理吳小平在書展的一場討論會結束後,通過翻譯接受採訪時說。「中國和美國出版商之間的關係會愈發密切和友好。」
當被問到一些話題的寫作是否受限,以及他的出版社是否需要遵守政府規定時候,他回答道,「無可奉告。」
在中國,審查——以及更為常見的自我審查——一直是出版行業的特色。該行業一直處於執政黨中國共產黨的控制之下。中國政府共有大約580所國有出版社,可以保證國內出版的書籍不提及所謂的敏感話題,如同性戀權利、中國少數民族的不滿,以及1989年針對民主抗議活動的血腥鎮壓。
「甚至早在作者動筆之前,中國的審查過程就開始了,」參加筆會活動的香港新世紀出版社出版人鮑朴稱。「人們為什麼要寫明知永遠無法出版的作品呢?」
在中國出版作品的西方作者也無法逃脫中國更為嚴苛的標準所帶來的影響。例如,學者傅高義(Ezra F. Vogel)就不情願地與出版社的審查者進行了合作。他寫了一本鄧小平傳記,但這本書的大陸版省略了一些關於毛澤東的形容詞,還刪節了一整段關於鄧小平的內容。但傅高義表示,為了讓那些對本國基本完整的歷史如饑似渴的讀者讀到這本書,這些刪節是必要的。
少數情況下,作者沒有向審查屈服,而是選擇了放棄出版交易。《野心時代》(Age of Ambition)的作者歐逸文(Evan Osnos)決定不在中國出版此書的譯本,因為編輯此前告訴他,他們要刪去關於藝術家艾未未和仍處於監禁之中的諾貝爾和平獎得主劉曉波的內容。這本書講的是中國在經濟和社會方面的變化。他在一封電子郵件中說,「在我看來,刪除這些內容並不是在與中國讀者交流,而是會把他們孤立起來。」
還有些作者在作品出版前根本不知道作品內容的變動,直到作品出版後才知道。當《正午的惡魔》(The Noonday Demon)一書——這是一本關於抑鬱症的書——的作者安德魯·索羅門(Andrew Solomon)得知自己的書在未經他允許的情況下被更改之後十分生氣,更改後的版本刪除了他提到自己是同性戀的內容。
「我認為,有人會建議,因為中國是個巨大的市場,所以我們必須遵守中國內部的審查標準,」索羅門說。「討好中國,不承認這個問題的嚴重性的做法,說好聽的叫天真,說難聽的叫虛偽。」
Andrew Jacobs自北京對本文有貢獻。

伏爾泰《巴黎高等法院史》

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"這裡不是對史不絕書的災禍進行探究的場合。"----伏爾泰《巴黎高等法院史》吳模信譯,北京:商務,2015,頁6


第1頁就有奇怪的譯注:
.....希臘人有過他們的埃格里斯(église) (注1*)。基督教的會社就以這個組織作為它的名稱----教會。 *意為基督教徒大會

(注1*)是恆真說法。或許應該採用Wikipedia的église - Wiktionary
詞源說明。

Etymology[edit]Vulgar Latin *eclesia, from Ecclesiastical Latin ecclēsia, from Ancient Greek ἐκκλησία (ekklēsíagathering).

游珮芸《日治時期台灣的兒童文化》日治時期臺灣的兒童文學概覽

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日治時期台灣的兒童文化

日治時期台灣的兒童文化


游珮芸《日治時期台灣的兒童文化》台北:玉山社,2007
 
雖然不同意作者的一些論點,然而這畢竟是本日本的博士論文翻譯,還是有許多東西可參考呢,譬如說日本在40年代之前就有小學的作文運動,我的母校大甲學校還出版過這方面的書,大甲當時還有日文半年刊《榕蔭下》,這我也完成無知。




任何一個時代都有孩童,以及接觸影響孩童的大人們。特別是現代,大人們在學校制度之外,參與兒童文化的方式,值得重視與討論。而過去,台灣的兒童文化是如何被耕耘開拓的?殖民統治複雜的政治結構下,在那今後我們應該都不會經歷的局勢中,前輩們是如何思考、行動的呢?
  1987年戒嚴令解除後,在日本統治下被〈日本文化〉壓迫的〈台灣色彩〉,以及戰後獨裁統治下被〈中華文化〉排擠的〈台灣文化〉,正以欣欣向榮的姿態開展出一番新貌,然而,真正有〈台灣色彩〉的兒童文化到底是什麼?
  本書藉由考察日本本土與台灣的互動關係,來掌握日治時期 ( 1895-1945 ) 台灣兒童文化的狀況,進一步探討殖民地兒童文化中所含蘊的民族與語言的問題。書中提及的日治時期兒童文化工作者的言動,足以當作我們的負面教師。
  唯有真摯地回溯歷史的軌跡,接受台灣多元的原貌,才能踏出創造〈台灣色彩〉的第一步。汲取過去的經驗或許無法解決現在的問題,但是至少可以從中得到一些啟發,或是釐清問題的線索,成為台灣兒童文化開創與拓展的力量。


作者簡介
游珮芸
1967年出生於台北。
畢業於台灣大學外文系,獲日本交流協會獎學金,於1990年赴東京留學。
日本國立御茶水女子大學兒童學碩士、人文科學博士(1996)。
曾任京都大學博士後研究員4年,現任台東大學兒童文學研究所助理教授。
致力於兒童文學、兒童文化的研究與教學,並從事兒童文學的翻譯與評論。
   曾以鄭小芸之筆名譯有謝爾?希爾弗斯坦的《閣樓上的光》、《一隻向後開槍的獅子》、《愛心樹》等書。於玉山社星月書房策劃主編Mini&Max 系列,譯有系列中的《大海的朋友》、《孟納生的夢》、《草原的朋友》、《我的漫畫人生》,以及禮物書《好想遇見你》、《明天你還愛我嗎》。
  另譯有《愛思考的青蛙》(上誼)、《鶴妻》(信誼)、《變成麵包的夢》(遠流) 、《好朋友出租》(尖端) 、《我是大力士》(大采文化) 、《1隻小豬與100匹狼》(三之三文化) 、《蠟筆小黑》(經典傳訊) 、《亮晶晶妖怪》(小魯)等30餘本圖畫書。

詳細資料

  • 叢書系列:典藏台灣
  • 規格:精裝 / 356頁 / 15*21cm / 普級 / 單色印刷 / 初版
  • 出版地:台灣

目錄

前言
第一篇 前期武官總督
第一章 樺山資紀
1.征台急先鋒 
2.與台灣淵源深厚的大久保家族 
3.教育先鋒伊澤修二
第二章 桂太郎
1.陪同伊藤博文到台灣 
2.設立台灣協會
第三章 乃木希典
1.備受考驗的台灣總督任期 
2.與森鷗外的交往 
3.軍神的形象與實像
第四章 兒玉源太郎
1.治台智略 
2.新渡戶稻造見證武士道的雙刃 
3.矢內原忠雄是日本帝國主義的
見證學人
4.後藤新平的鴉片人脈 
5.「玄洋社」在台灣
第五章 佐久間左馬太
1.討蕃墜崖 
2.吳鳳神話的形塑
第六章 安東貞美
第七章 明石元二郎
1.華銀的守護神 
2.日月潭電廠的興建背景 
3.嘉南大圳的傳說 
4.下村宏與淡水球場
第二篇 中期文官總督
第一章 田健治郎
1.首任文官總督 
2.民族運動興起 
3.台灣地名的命名
第二章 內田嘉吉
1.首位擔任過民政長官的總督 
2.治警事件
第三章 伊澤多喜男
第四章 上山滿之進
1.鈴木商店的牽絆 
2.台北帝國大學的創校
第五章 川村竹治
第六章 石塚英藏
1.霧社事件 
2.下村虎六郎與學潮
第七章 太田政弘
第八章 南弘
第九章 中川健藏
第三篇 後期武官總督
第一章 小林躋造
1.首位海軍總督 
2.台拓與福大的創立始末
第二章 長谷川清
1.壽命最長的總督 
2.本間雅晴征菲改寫台灣命運
第三章 安藤利吉
結語
後記
本書大事年表

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高苦茶Hanching Chung連結這篇,序的部分錯了,接到另一本書去了
21分鐘·

謝啦。記得這是本博士論文。 2年來數十人翻過它,沒人指正。



前言
  台灣從一八九五年五月清日甲午戰爭結束後,雙方簽訂講和條約,即歸日本領有統治。
  從第一任總督樺山資紀於同年六月在台北舉行始〈施〉政式開始,直到一九四五年十月,末代總督安藤利吉簽訂投降書,整整超過半世紀,是為日治時代。
  日治時代,日本中央政府前後派遣十九位總督前來治理台灣,換算下來,平均每位總督僅在位二年半,可見「更動頻繁」是一大特色。如以總督出身分類,則可概分為前期武官總督、中期文官總督,以及後期武官總督等三個階段。
  其中,任期最久的是第五任的佐久間左馬太,任職整整滿九年。諷刺的是,他任內以理蕃為最大「治績」,最後卻在討伐過程中墜崖受傷致死。
  任期最特殊者,莫過於第二任總督桂太郎,他在首相伊藤博文陪同下,來台參加施政一週年紀念,再陪同伊藤南下視察,即打道回府,前後不過十天,從此未再踏上台灣一步,但他的「總督」職銜則掛了四個月之久。
  任期最短者,是文官總督末期的南弘,實際在台時間不到二個月,即隨中央新內閣改組而入閣,是典型的「人在台灣,心在日本」的獵官主義者。
  對日本而言,台灣是明治維新後第一個殖民地,因此前來擔任總督者,當然都是一時之選,從早期七位武官總督大都擁有爵位,即可看出梗概。
  日本在明治二年〈一八六九〉廢除封建身分制度時,將原來朝廷公卿、諸侯等稱為華族。公卿五家當中,最高格的近衛家日後有組閣的近衛文;僅次於五家者,則是清華家,其中西園寺,即是九家之一,日後有西園寺公望的組閣紀錄。這是新時代的貴族。
  到了一八八四年,日本制定劃分公、侯、伯、子、男五等爵位的「華族令」,翌年國會成立時,上院即由這些具有爵位身分者選任之,以控制下院;另置樞密院,為天皇的最高諮詢機關,主要功能在調停國會與內閣之間的紛爭。
  以首任台灣總督樺山資紀而言,他上任時即已具有子爵身分,後於同年八月升授伯爵。
  第二任台灣總督桂太郎,來台前由於參與甲午戰爭有功,獲封子爵,此後隨著他在中央的飛黃騰達,一九○二年升授伯爵,一九○七年升授侯爵,一九一一年升授公爵,這一年他六十五歲。
  第三任的乃木希典也是因甲午戰爭而獲封男爵。
  第四任兒玉源太郎與乃木希典相同,日俄戰爭後升授子爵,過世後由長子兒玉秀雄世襲。
  第五位佐久間左馬太同樣由於甲午戰爭而獲封子爵。
  第六任安東貞美由於日俄戰爭時參加奉天會戰,戰後獲封為男爵,之後再來台。〈註一〉
  第七任明石元二郎來台就任年餘即告發病,臨終前獲封男爵。
  第八任田健治郎是首位文官總督,他來台前,於一九○七年獲封為男爵,十二年後始來台擔任總督。
  比較特殊的是伊澤多喜男,由於名字中帶有「男」字,曾被人誤為具有男爵身分,實際上並非如此。
  以上可以看出初期來台擔任總督,擁有爵位,以便在中央主管官署簽報奏薦人選時當作「有力」的背書,是不可或缺的條件之一。
  其次,總督府高官,如與兒玉總督搭檔而享有盛名的後藤新平,則在兒玉下台的同時獲得男爵封號。
  比較特殊而最能看出「華族」身分運用之妙者,則莫過於治台初即來台的大久保利武,他是明治元勳大久保利通的三子。其父在一八七八年遭不平士族暗殺,當時還未發布「華族令」,六年後,隨著該令的施行,他的長兄利和獲封侯爵,位極尊榮。
  到了一九二八年,利和退隱,因無子嗣而由利武繼承為侯爵;到了一九四三年,再傳給其子、歷史學家利謙。〈註二〉
  華族制度在戰後,一九四七年五月廢止。由於其實施期間貫穿整個日治史,因此也是解讀統治階層身分、背景的題材。
  以歷任總督的壽命論,平均享壽幾達七十四歲,在當時而言算是長壽了。
  其中最長壽的是長谷川清,在過完日本人「米壽」〈八十八大壽〉後辭世。
  最短壽者是兒玉源太郎,日俄戰爭結束翌年他即猝逝,得年五十五。
  本書主旨在於將歷任總督的施政方針、建設台灣的背景、留下的治績……等,做完整的回顧,並輔以襄助角色的事蹟,或留下的重大文獻,以解讀總督的成敗利鈍,好讓台人認清日治時代統治的本質,盡可能回歸史實的全貌,而不是後人片面解讀所可能帶來的誤導。
  其次,日治時代台人在異族統治下,應對進退之道,各有巧妙,本書盡可能每一章都列舉相關知名人物的崛起、對應,以及命運改變的過程。這些人士的動向,具有指標作用與意義,也是時代的見證。
  統治者對地名的更改,幾乎古今皆同,難有例外,本書對台灣一般熟知的地名,在日治時代的「定名」過程,也盡可能羅列進來,有如了解個人的身世、背景一樣,藉以激發「台灣情」,也可體會日本人對「漢字」的運用之妙。
註釋
  註一:《台灣文獻》第五十五卷第四期別冊,〈淺談日本戰前特殊的「華族」制度〉,提到「第六任總督安東貞美在台灣總督任內並未擁有爵位,但離職後,因日俄戰爭而受封男爵」。
  實際上,安東來台就任總督是在一九一五年,而日俄戰爭早於十年前,即一九○五年就結束,因此安東其實在出任台灣總督之前即已因參戰而獲封爵位。
  註二:同註一,該文又提到大久保利武「在總督府任職期間,襲父蔭受封侯爵的是長兄大久保利和」,實際上利和封爵是在一八八四年,而非利武在台的一八九五年到一八九六年間。




日治時期臺灣的兒童文學概覽
文.圖片提供/游珮芸(臺東大學兒童文學研究所副教授)
1895年5月清廷和日本簽訂馬關條約,臺灣被當成戰敗的賠償,割讓給日本,直至第二次世界大戰終了的1945年,五十年間受到日本的統治。臺灣現代兒童文學的萌芽,正是在這段時期之中,因篇幅限制,在此僅以概覽的方式,回顧這一段歷史。
一、教育制度、語言政策與兒童文學
兒童文學是與識字人口的普及、學校制度的確立、出版文化的成熟等互相連動的現代產物。在臺灣,現代化學校的設立與普及始於日治時期,報紙雜誌等大量的印刷出版也肇始於這個時代,因此我們不難在這個時期找到在臺灣出版的兒童文學讀物及其作家。
然而,日本殖民統治的特徵之一,就是實施將被殖民者「同化」為日本人的政策;而同化最主要的手段就是強迫使用日文。因此,這個時期的兒童文學幾乎全是以日文出刊,推廣兒童文學、出版兒童書籍與刊物者也多是在臺灣的內地人(日本人)。檢視這個時期的兒童文學發展時,我們必須先釐清這樣的時代背景。
二、日本內地兒童文學工作者訪臺活動
日治時期臺灣兒童文學的發展,其實和日本內地的兒童文學潮流息息相關。
因為殖民地教育政策與媒體的限制,當時兒童文學工作者主要是在臺灣生活的日本人,他們時而會邀請日本的知名人士來臺推廣兒童文學的相關活動。
日本明治時期,確立「少年文學」文類的作家嚴谷小波(1870~1933),就曾經在1916年、1925年和1931年三次受邀訪臺,每次停留二至三星期,期間到臺灣各地演出「口演童話」(演說童話,類似說故事),足跡甚至到過臺東和澎湖。嚴谷的訪臺,直接刺激了口演童話在臺灣的發展,和各地童話會組織成立(1916年「臺灣御伽會」即是在嚴谷的見證下成立)。
除了引進故事演說活動,知名的童謠詩人如北原白秋(1885~1942)和野口雨情(1882~1945)也都曾經訪臺。北原白秋於1934年受臺灣總督府文教局的邀請,為了寫兩首歌詞〈臺灣少年之歌〉、〈長臺灣青年之歌〉,而到臺灣環島巡迴演講。野口雨情則是在1927年組團到臺灣開童謠/民謠演唱會,1939年又到臺灣旅行找寫童謠/民謠的靈感。
這些兒童文學界知名人物的訪臺,對當時臺灣兒童文學的發展,都有相當正面的效應。
28期通訊主題【兒童文學】,游珮芸(臺東大學兒童文學研究所副教授)詳細介紹<日治時期臺灣的兒童文學概覽>,網址:http://www.ntl.edu.tw/ct.asp?xItem=2385&ctNode=457&mp=5
圖為日治時期出版的兒童雜誌《學友》。
臺灣學通訊的相片。

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