In 2002 the Upper Middle Rhine Valley was named a World Heritage site. The Rhine's real heydey, however, was 200 years ago when the Romanticists first discovered the river and made it their muse.
English poet Lord Byron was so enraptured by the ruins on the Drachenfels mountain in 1816 that he immediately reached for his pen and wrote the famous lines of "The Castled Crag of Drachenfels." Byron wrote with fervor that he would like to spend the rest of his life at the foot of the tower-crowned mountain. His verses sparked an avalanche of nature-inspired poetry and also kicked the Rhine tourism industry into gear. The region is known as Siebengebirge or Seven Mountains. Today, the Siebengebirgsmuseum in the sleepy town of Königswinter near Bonn illuminates the Romanticists' fascination with Germany's most famous river. The exhibition hall is in just the right place: When visitors exit the train, they see the Drachenfels mountain and the Drachenburg castle looming majestically in the sky.
Painters' muse The area on the Rhine is a popular tourist destination that is mentioned in every guidebook. Not only poets like Heinrich Heine, Clemens Brentano or Joseph von Eichendorf visited the region, but numerous painters also ventured here to interpret the landscape with their brushes. "The mix of this region fascinated artists," said the museum's director, Elmar Schueren, "On the one hand, it was the scenery that lends itself beautifully to being painted, and on the other hand, it was the activity of the people." Castles on the left and the right of the Rhine were witness to this activity. During the Middle Ages they were built as obsolete. New weapons techniques made them superfluous and, built for battle, they didn't make suitable residences. It's amazing that any are left standing at all, said Scheuren, because some were used as stone quarries for the construction of churches. Even the stones of the Cologne Cathedral stem from the Rhine. Up until the 19th century, the gray stone of Drachenfels was dismantled and shipped to Cologne.
The other landscape For the Romanticists the ruins along the Rhine provided just the right amount of eerie inspiration they needed for their art. Their works also became political symbols of a growing national sentiment in the 19th century. While the wild and untouched nature inspired the artists, signs of civilization and progress also surfaced in their art. Johannes Jakob Diezler crafted the painting "Niederlahnstein and Kappellen-Stozenfels" in 1830, portraying a perfect idyll - but only at first glance. Upon closer examination, you'll see that the artist wasn't only interested in beautiful scenery, but that the painting also depicts modern infrastructure. A steamboat glides through the Rhine; a vineyard dots the riverbanks; a carriage brings travelers to the river. "The cultural landscape was, for them, the landscape," explained Scheuren. Birth of the Lorelei The Romanticists had plenty of imagination; they exaggerated the landscapes they saw and projected their own fantasies into them. One result was the legend of the Lorelei. Prior to the 19th century, the Lorelei was nothing more than a slate rock at St. Goarshausen near Koblenz. Due to shallow spots in the channel, the passage was dangerous, and a number of shipwrecks occurred. The legend of a mystical mermaid, who sat on the rock, combing her golden hair and casting sailors under her spell of song, can be traced back to the year 1801. In his ballad, "In Bacharach on the Rhine," Clemens Bentano described an enchantress in the village. At this time, the rock played no role. It wasn't until the 1820s that Heinrich Heine revisited the story and placed the hair-combing enchantress from Bacharach on the stone. "As such, the legend was perfect," said Scheuren, adding that the story of Siegfried the dragon slayer came about in a similar manner. "The dragon fight was pure fiction," he said. "The story first appeared in the 18th century. The debate ran for a few years; then it became a legend that continues today."
Landscape of memories What didn't exist was quickly invented. The Rhine depictions by Swiss painter Ludwig Bleueler demonstrate a contradiction between dream and reality. One of his pictures of Mainz shows a park with people milling about and a locomotive passing through. "At that point the railway on the left side of the Rhine was only in the planning stages," said Scheuren. "When it was opened, Bleueler had been dead for three years." The ongoing spread of technology didn't just change the portraits of the Rhine. At the end of the 1820s, thousands of tourists flocked to the region. The exclusive production of photos gave way to mass consumption. Steamboats began offering affordable travel, and even members of the British royal family - attracted perhaps by the verses of their national poet Lord Byron - visited the acclaimed river. The popularity of Rhine artwork peaked at the end of the 19th century. In the 20th century, long-distance travel replaced vacationing on the Rhine. Nevertheless, the beloved river has not been forgotten. At 350 meters, Drachenfels is allegedly the most-climbed mountain in Europe.
2007年 我自己發行 Quality Times
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Quality Times No.91, Apr.7, 07；品質時報第 91期：07年4月7日 (週六).
我還向 Oba和她的朋友介紹一下窗邊的{雨果傳Victor Hugo…l'homme et l'oeuvre} 這譯本有意思：譯者送大家他珍藏的十來張雨果相關的紀念明信片。就憑這，就夠本。中國近來翻譯不少法國文、藝家的傳記，份量級驚人。
「雨果傳」，台灣和中國大陸都翻譯過A Maurois的 Victor Hugo AND His World，不過問題太多了。舉台灣新潮本的第 57頁末行，譯者其實要幫忙注解它舉的Rivoli 和Friedland，都是拿破崙戰爭的著名戰場/地。
這種史地問題對我們造成很大的障礙：這在{萊茵河 }等，更是困難太多啦！
台灣
宏碁已成為個人電腦業發展史上東山再起的成功案例﹐並已引起全球個人電腦巨頭的擔憂。
美國
1. Sears Warns Consumers to Remove Label from Craftsman Circular Saws, Obstructed Blade Guard Poses Laceration Hazard 2. Aviv Judaica Imports and Ahron's Judaica Recall Chanukah Candles Due To Fire and Burn Hazards 3. NY Thermal Inc. Recalls to Repair Gas-Fired Hot Water Boilers Due to Carbon Monoxide Hazard 4. Gemmy Industries Corp. Recalls Disney Plush Easter Baskets Sold at Wal-Mart Due to Choking Hazard
Hazard: Silver beads and ribbons attached to the basket can detach, posing a choking hazard to young children.
******張心滄 Chinese Literature: Popular Fiction and Drama中国文学：通俗小说和戏剧 中國文學研究第一種: 《通俗小說與戲劇》Popular Fiction and Drama
目錄的中文參考 傅述先 張心滄的<中國文學研究>
Chang, H. C.: CHINESE LITERATURE: POPULAR FICTION AND DRAMA (HARDCOVER) 5.25 x 8", x, 466 pp., footnotes, cloth, Edinburgh, 1973. (o.p.; near fine) Contents:
The Shrew 快嘴李脆蓮記
A Dream of Butterflies 包待制三勘蝴蝶夢
The Lute琵琶記
The Twin Mirrors 范鰍兒雙鏡重圓
The Birthday Gift Convoy 生辰綱
The Clerk's Lady 三現身包龍圖斷冤
Madam White 白娘子永鎮雷峰塔
The Peony Pavilion牡丹亭
The Blood-Stained Fan桃花扇
Young Master Bountiful 儒林外史
A Burial Mound for Flowers紅樓夢葬花詞
The Women's Kingdom.鏡花緣
Item # 14021ISBN 0852242409 (Edinburgh University Press) Price: $20.00
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Chang, H. C.: CHINESE LITERATURE: POPULAR FICTION AND DRAMA (SOFTCOVER) 5 x 8", 466 pp., footnotes, paper, New York, 1973. (o.p.; crease to front cover) Item # 25160ISBN 0231053673 (University of California Press) Price: $10.00
The Everyman Anthology of Poetry for Children is a treasury of great poems chosen for the sheer pleasure they offer to readers of all ages. Compiler Gillian Avery's aim was to avoid condescending to children and "to assemble a collection of poems that the owner will not outgrow." With that in mind, she has included very few works that were written solely for a young audience. The more than 250 pieces gathered here range from ballads to epics, from inspired nonsense to memorable reflections on love and death. A wide variety of poets grace these pages, from Mother Goose to Shakespeare, from Emily Dickinson to Noel Coward, from Robert Frost to Ogden Nash. Coleridge's "Kubla Khan" and Rosetti's "Goblin Market" will enchant young readers as much as T. S. Eliot's "The Naming of Cats" and Lewis Carroll's "The Mock-Turtle's Song" will entertain them. Adorned with engravings by the eighteenth-century artist Thomas Bewick, this collection belongs in every family's library.
Endpapers of the original 1906 run of the Everyman's Library. The art is heavily based on that of William Morris and his Kelmscott Press, whereas the quote is derived from the medievalplayEveryman
Everyman's Library is a series of reprinted classic literature currently published in hardback by Random House. It was originally an imprint of J. M. Dent (latterly a division of Weidenfeld & Nicolson), who continue to publish Everyman Classics in paperback. J. M. Dent and Company began to publish the series in 1906. It was conceived in 1905 by London publisher Joseph Malaby Dent, whose goal was to create a 1,000 volume library of world literature that was affordable for, and that appealed to, every kind of person, from students to the working classes to the cultural elite. Dent followed the design principles and to a certain extent the style established by William Morris in his Kelmscott Press. This was later replaced in 1935 by Eric Ravilious's designs.[1] Everyman's Library books were pocket-sized hardcovers that sold initially for what was then the remarkably low price of a shilling apiece. The original U.S. distribution rights were granted to New York City publishers, E. P. Dutton.
The first title published was Boswell'sLife of Johnson, published with a quotation on the title page from the works of John Milton: "A good book is the precious life-blood of a master-spirit, embalmed and treasured upon purpose to a life beyond life." In 1910, 500 books had been published under the Everyman trademark, and in 1956 the thousandth volume (Dent's original goal) was published, with Aristotle's Metaphysics selected for the honour. By 1975, Dent's vision had been well surpassed, as Everyman's Library consisted of 994 titles published in 1,239 volumes.[2] Each book belonged to one of the following genres: Travel, Science, Fiction, Theology & Philosophy, History, Classical, For Young People, Essays, Oratory, Poetry & Drama, Biography, Reference, and Romance. The appropriate genre was printed inside and used to organize lists of the series issued from time to time.[3] After ceasing publication of new titles in the 1970s, the hardback rights to Everyman's Library were sold to the newly formed David Campbell Publishers in 1991 and relaunched with the support of the Random House Group in the United Kingdom and through Alfred A. Knopf (which had been acquired by Random House in 1960[4]) in the United States—a move which was praised by many notable authors. Control of Everyman's Library passed to US-based Random House in 2002, who continue to publish it under the Knopf Publishers imprint there and (albeit without changes) as Random House UK elsewhere.[5] The current membership of the Honorary Editorial Committee includes Harold Bloom, Henry Louis Gates, Jr., Seamus Heaney, Toni Morrison, Cynthia Ozick and Simon Schama.[6] J. M. Dent & Sons was acquired by Weidenfeld & Nicolson in 1988, itself acquired by the Orion Publishing Group in 1991, now both part of Hachette Livre (UK). Not to be confused with Everyman's Library, Orion continues to publish Everyman Classics in paperback under the J. M. Dent imprint in the UK and through Charles E. Tuttle Co. in the US.[7] The name of the publication series was suggested by poet and editorErnest Rhys, who was named head editor of the series initially, and asked to find a suitable name to encompass Dent's goal. Rhys tried and discarded many ideas before recalling a quotation from the medieval play Everyman in which the character of Knowledge says to Everyman:
Everyman, I will go with thee
and be thy guide,
In thy most need to go
by thy side.
This quotation appears on the title page of all Everyman's Library volumes.
A notable addition to the library was a multi-volume encyclopedia which was added to the range in 1913. Individual volumes could be purchased separately, enabling the set to be budgeted over time. The fifth edition was published in 1967, by which time it consisted of twelve volumes, containing 7763 pages. The page size was 9 inches by 5 inches, but as the printing was 8 point, a large amount of information was contained in each volume. As a volume only weighed about 1¼ kg (2¾ lb) it was considered a better size for use by children.
Personal History Paperback: 642 pages Publisher: Vintage (February 24, 1998)
Winner of the 1998 Pulitzer Prize for Biography
An extraordinarily frank, honest, and generous book by one of America's most famous and admired women, Personal History is, as its title suggests, a book composed of both personal memoir and history.
It is the story of Graham's parents: the multimillionaire father who left private business and government service to buy and restore the down-and-out Washington Post, and the formidable, self-absorbed mother who was more interested in her political and charity work, and her passionate friendships with men like Thomas Mann and Adlai Stevenson, than in her children.
It is the story of how The Washington Post struggled to succeed -- a fascinating and instructive business history as told from the inside (the paper has been run by Graham herself, her father, her husband, and now her son).
It is the story of Phil Graham -- Kay's brilliant, charismatic husband (he clerked for two Supreme Court justices) -- whose plunge into manic-depression, betrayal, and eventual suicide is movingly and charitably recounted.
Best of all, it is the story of Kay Graham herself. She was brought up in a family of great wealth, yet she learned and understood nothing about money. She is half-Jewish, yet -- incredibly -- remained unaware of it for many years.She describes herself as having been naive and awkward, yet intelligent and energetic. She married a man she worshipped, and he fascinated and educated her, and then, in his illness, turned from her and abused her. This destruction of her confidence and happiness is a drama in itself, followed by the even more intense drama of her new life as the head of a great newspaper and a great company, a famous (and even feared) woman in her own right. Hers is a life that came into its own with a vengeance -- a success story on every level.
Graham's book is populated with a cast of fascinating characters, from fifty years of presidents (and their wives), to Steichen, Brancusi, Felix Frankfurter, Warren Buffett (her great advisor and protector), Robert McNamara, George Schultz (her regular tennis partner), and, of course, the great names from the Post: Woodward, Bernstein, and Graham's editorpartner, Ben Bradlee. She writes of them, and of the most dramatic moments of her stewardship of the Post (including the Pentagon Papers, Watergate, and the pressmen's strike), with acuity, humor, and good judgment. Her book is about learning by doing, about growing and growing up, about Washington, and about a woman liberated by both circumstance and her own great strengths.
Katharine Meyer Graham (June 16, 1917 – July 17, 2001) was an American publisher. She led her family's newspaper, The Washington Post, for more than two ...
Katharine Graham: A Life Remembered. July 17, 2001 -- She guided The Washington Post through its historic coverage of the toppling of a president, won a ...
Kay Graham's Management Career. By Warren E. Buffett. Katharine Graham told her story far better than I can: Personal History is simply the best autobiography ...
Wednesday, July 18, 2001 - Katharine Graham, 84, who led The Washington Post Co. to prominence in the worlds of journalism and business and became one ...
Jul 18, 2001 – Washington Post publisher who took over the family business after he
The Media Equation
Washington Post’s Chief falters Anew
By DAVID CARRNovember 24, 2012
At 11:45 a.m. last Tuesday, the editorial staff of The Washington Post was summoned on short notice to an announcement on the fifth floor of its building to hear something they already knew — that Marcus Brauchli would be leaving after four years as executive editor. After Mr. Brauchli spoke, Katharine Weymouth, the newspaper’s publisher, told employees that he would be replaced by Marty Baron, the editor of The Boston Globe.
As the meeting was concluding, Valerie Strauss, a longtime reporter, asked Ms. Weymouth why she was making the change. Ms. Weymouth, perhaps because of employment agreements that limited what could be said, spent a few sentences not answering that question and finished by saying, “Go back to your desks.”
James M. Thresher/The Washington Post
Katharine Weymouth
It was less a command than a signal that the meeting was over, but it marked an awkward finish to a leadership change that was mishandled from the start.
It is an inopportune time for The Post to stumble. Ms. Weymouth’s move is akin to switching drivers just as the car is sputtering to a stop. Print, and more ominously, digital advertising revenue is in decline, circulation is in a dive and the newspaper’s “for and about Washington” editorial strategy has left employees underwhelmed. Now Ms. Weymouth seems to be upending the loyalty and accountability that has been a hallmark of her family’s ownership of the newspaper.
After the meeting, people returned to their desks wondering whether Ms. Weymouth was capable of leading the organization. In Mr. Baron, she may have selected a talented and independent editorial leader. But four years into her tenure at the top, she still seems to be struggling to get a grasp on a huge job at a company whose journalism has at times altered the course of a nation.
It is no coincidence that the vast majority of the most important newspapers in the country are controlled by families, not conglomerates, and that comes with advantages and drawbacks. While Ms. Weymouth got her job because of who she is, a Graham, people expect her to find a way to make it work, against tall odds, for the same reason.
Ms. Weymouth declined to comment for this column, but I spoke with many people at The Post about why she can’t seem to find her footing. These people say they like her personally, and she continues to have the ferocious support of Donald Graham, her uncle and the chief executive of The Washington Post Company, as well as the rest of the family. But many staff members worry that she is overseeing the decline of one of journalism’s crown jewels.
Fumbling an editorial change may seem like small beer when viewed against the backdrop of an industry in which bankruptcies are legion and rich business interests are buying newspapers as playthings. And it’s not as if The New York Times has been a model of seamless transitions in the executive suite — the departure of the previous chief executive, Janet Robinson, was not handled forthrightly, and her replacement, Mark Thompson, has come under scrutiny for serious problems he failed to notice in his previous job.
But with around 600 journalists, The Post is still an important player. It is not what it once was, but it isn’t nothing either. Ms. Weymouth’s continued misfires, along with the lack of success in generating new revenue, however, have left the newspaper staring down the gun barrel of deep cuts and a business model in free fall.
Ms. Weymouth, who became publisher in 2008, got off to a rough start, making clumsy work of moving out the longtime editor, Leonard Downie Jr., and bringing in Mr. Brauchli, who left The Wall Street Journal’s top job that year. By reaching outside her own company, she set aside almost 40 years of editorial continuity and put the newsroom on edge.
New to her role, she wanted an editor who would be her wingman and confidante the way Ben Bradlee had been for Katharine Graham, a partnership that produced both business and journalistic success. But the relationship faltered in 2009 after it was revealed that there was a plan to charge various Washington power brokers to attend off-the-record dinners, featuring Post editors and writers, at Ms. Weymouth’s home.
In the ensuing imbroglio, Ms. Weymouth felt that her handpicked editor had left her holding the bag and began doubting his loyalty. The rift never healed. She pushed Mr. Brauchli to cut costs, and he continually asked why the business side was underperforming.
Last summer, Ms. Weymouth began discussing with people outside the paper her desire to replace Mr. Brauchli, less an attempt to undercut him than a rookie mistake of indiscretion. But the ensuing four months of speculation and paralysis further damaged the newspaper. Once the change was made official, Ms. Weymouth made another mistake; she insisted in interviews that the decision was Mr. Brauchli’s, when most people knew better. Mr. Brauchli declined to comment, but his wife, Maggie Farley, left a large breadcrumb to follow when she asked in a now deleted Facebook post how had “the Washington Post of Watergate fame become the place where you can’t speak truth to power?”
That lack of forthrightness clanked at a news media organization where the chief asset is credibility.
I covered The Post at the end of the 1990s, and while the Grahams could be stodgy and parochial, the company was always known as a stand-up institution built on loyalty. Mr. Brauchli may not have been the perfect person to lead the newsroom in entropic times, but the way the switch was made raised questions about Ms. Weymouth’s maturity and steadfastness as an operational leader.
In terms of strategic plans, The Post remains where it was when she took over, only smaller. The major business thrust has been to lust after the sexy economics of aggregators like The Huffington Post and hope to re-engineer the newspaper into something similar. But The Washington Post is not in that business and never will be.
In the meantime, it has allowed its franchise on political coverage to disperse to other news outlets, many online, like Politico. The newspaper remains free on the Web, and its wait-and-see attitude on online subscriptions has left it on the sidelines. And by hewing to a strategy of local dominance rather than entering the national competitive fray, The Post now finds itself sharing a destiny with struggling regional newspapers.
The Post retains a toehold on its former greatness by virtue of its family ownership — its election coverage showed significant muscle — but those dynamics are now hard against an age that requires decisive, confident leadership. The cushion of profits from other endeavors like the Kaplan education division are all but gone, and if The Post is going to endure, the motor of the enterprise will be the people who occupy what is still one of the most talented newsrooms in the business.
It brings to mind another transition at The Post back in the 1960s, when an inexperienced executive also named Katharine went through a number of pratfalls, personnel miscalculations and a personal crisis of confidence. Katharine Graham eventually figured it out, but she had the luxury of time that Ms. Weymouth does not.
Now that she has an editor she trusts and a rough patch behind her, perhaps this Katharine will find a way as her grandmother did before her.
韋茅斯拒絕就此事向本欄目發表評論，但我和《華盛頓郵報》的很多人有過談話，談到為什麼她好像始終找不到方向。這些人表示，他們喜歡韋茅斯這個人，而她也繼續得到她舅舅、華盛頓郵報公司(The Washington Post Company)首席執行官唐納德·格雷厄姆(Donald Graham)以及格雷厄姆全家族的鼎力支持。但很多公司員工擔心，就是在她擔任高管期間，新聞業的一顆明珠正漸漸隕落。
Goethe has a well-known saying, which offends many people : It is only knaves who are modest ! Nur die Lumpen sind bescheiden! but it has its prototype in Cervantes, who includes in his Journey up Parnassus certain rules of conduct for poets, and amongst them the following : Everyone whose verse shows him to be a poet should have a high opinion of himself, relying on the proverb that he is a knave who thinks himself one. And Shakespeare, in many of his Sonnets, which gave him the only opportunity he had of speaking of himself, declares, with a confidence equal to his in genuousness, that what be writes is immortal.
1933年人文書店出版陳介白劉共之的譯本/周啟明(起孟)序: 文學的藝術
1976 台北的名遠轉印.
Arthur Schopenhauer (22 February 1788 – 21 September 1860)
Parerga und Paralipomena, 1851; English Translation by E. F. J. Payne, Clarendon Press, Oxford, 1974, 2 Volumes: 這本書北京商務有比較全的翻譯本.
憨山生平以「憨山生平」爲範圍探討的專著有:徐頌鵬《中國明代佛教領袖一憨山德清的生平與思想》 徐頌鵬 The Life and Thought of Han-shan Te-ching: 1546-1623 Sung-peng Hsu University Microfilms, 1978 654 pages 陳運星翻譯徐頌鵬對於憨山生涯所分之九個時期,其中的第六個時期,翻譯乃有錯誤。 *******
"Tavernor has done a first-rate job. His study is the most up-to-date Palladian book currently on the market....Rudolf Wittkower would, I know, have admired Tavernor's book as much as I do."—Sir John Summerson Robert Tavernor looks at Palladianism in terms of its meaning, and sees it as part of the history of ideas. Here, architecture is returned to its place as the art that embodies values. Black-and-white illustrations throughout Series: World of Art
A slash or slant or solidus or virgule [ /] (take your pick of names) is used to indicate a choice between the words it separates... The slash can be translated as or and should not be used where the word or could not be used in its place. To avoid gender problems with pronouns, some writers use he/she, his/her, and him/her. Many authorities despise that construction and urge writers either to pluralize when possible and appropriate (to they, their, them) or to use he or she, etc. instead. Notice there is no space between the slash and the letters on either side of it.
In recent weeks hundreds of thousands of Brazilians have been demonstrating against corrupt politicians and expensive football stadiums. What was their goal? They are simply unhappy with their country because of its extreme social injustice. Forty-three percent of the country's income is controlled by 5,000 Brazilian families. Even the Workers Party PT has reached its limits. It has the option of changing and renewing its relationship to the social movements, or of turning into a party like any other which is only after power and allows itself to become corrupt.
The Brazilian middle class do not seem enthusiastic about the social programs of the government. Do they feel neglected? During Luiz Inacio Lula da Silva's presidency the rich became richer but the poor were also taken out of poverty. It was a win-win situation. The Workers Party PT has been redistributing the wealth. Redistribution means taking from the well-off and supporting the poorer classes of the population with the proceeds. But in this case, this principle was not applied to those with the largest wealth: the government has taken the money from the middle-class who have lost income thereby.
Will the Brazilian politicians listen to the pope's words politely at World Youth Day and then forget them? This pope's style is very important for Latin America. He puts poor people and social justice first. This will strengthen the new democracies which were created from the resistance to military dictatorship and have adopted successful social policies. The pope has an important political role. He can move masses. There is not one politician - not even Obama - who can bring more than a million people together.
Protests in Brazil
The streets erupt
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WITH stunning speed, protests that started on June 6th in São Paulo over a 20-centavo (nine-cent) hike in bus fares have morphed into the biggest street demonstrations Brazil has seen since more than 20 years ago, when citizens took to the streets to demand the impeachment of their president on corruption charges. The first protests were dismissed by paulistanos unsympathetic to the organisers, Movimento Passe Livre (The Movement for Free Travel), a radical group with the unrealistic aim of making public transport free at the point of use. Commuters were unimpressed by having already hellish journeys made even worse by road closures and outraged by the vandalism committed by a hard core. The city’s conservative newspapers called for the police to crack down.
All that changed on June 13th when the state’s unaccountable, ill-trained and brutal military police turned a mostly peaceful demonstration into a terrifying rout. Dozens of videos, some from journalists, others from participants and bystanders, show officers with their name tags removed firing stun grenades and rubber bullets indiscriminately at fleeing protesters and bystanders and hunting stragglers through the streets. Motorists trapped in the mayhem ended up breathing pepper spray and tear gas. Demonstrators found with vinegar (which can be used to lessen the effect of tear gas) were arrested. Several journalists were injured, two shot in the face with rubber bullets at close range. One has been told he is likely to lose his sight in one eye. The following day’s editorials took a markedly different tone.
By June 17th what has become dubbed the “V for Vinegar” movement or “Salad Revolution” had spread to a dozen state capitals as well as the federal capital, Brasília. The aims had also grown more diffuse, with marchers demanding less corruption, better public services and control of inflation. Many banners protested against the disgraceful cost of the stadiums being built for next year’s football World Cup. Brazil has already spent 7 billion reais, three times South Africa’s total four years earlier, and only half the stadiums are finished. “First-world stadiums; third-world schools and hospitals”, ran one placard. The marchers too were more diverse. An estimated 65,000 participated in São Paulo, with many more women, families and middle-aged folk than at previous protests. The state security-chief, Fernando Grella Vieira, met organisers earlier in the day and agreed a route; he gave the military police orders not to use rubber bullets and to stand by unless the protest turned violent. The result was a mostly peaceful, even joyous event.
Most marches in other cities passed off without serious violence too, though in Rio de Janeiro protesters and police clashed outside the Maracanã stadium, refurbished at a cost of over 1 billion reais for the World Cup—just six years after its last pricey rebuild. It was no coincidence that violence broke out in Rio, whose police are trigger-happy and corrupt even by Brazilian standards. In Brasília a group of demonstrators managed to scale the roof of Congress, but the police there reacted with restraint.
Similar escalations after seemingly minor flash points in recent years in Britain, France, Sweden and Turkey have appeared to be linked to some or all of the following features: government repression, high youth-unemployment, racial conflict, falling living standards and anger over immigration. Brazil is a different story. Its democracy is stable. Youth unemployment is at a record low. Brazilian racism is an internalised reality, not a daily street battle—and anyway, most of the marchers were white. The past decade has seen the most marked sustained rise in living standards in the country’s history. As for immigrants, though Brazil was built by them it now has hardly any. Only 0.5% of the population was born abroad.
None of this is to say that Brazilians have nothing to complain about: they pay the highest taxes of any country outside the developed world (36% of GDP) and get appalling public services in return. Violent crime is endemic; crack cocaine is sold and consumed openly in every big city centre. A minimum-wage worker in São Paulo’s centre whose employer does not cover transport costs (an obligation for formal employees) will spend a fifth of gross pay to spend hours a day on hot, overcrowded buses that trundle in from the city’s periphery. But this is nothing new in a country of gaping inequality—and in fact economic growth in the past decade has brought the biggest gains to those at the bottom of the heap.
So, why now? One reason is surely a recent spike in inflation, which is starting to eat into the buying power of the great majority of Brazilians who are still getting by on modest incomes, just as a big ramp-up in consumer credit in recent years has left them painfully overstretched. Bus fares have not risen for 30 months (mayors routinely freeze fares in municipal-election years, such as 2012, and in January this year the mayors of Rio and São Paulo agreed to wait until June before hiking in order to help the federal government massage the inflation figures). In fact, the rise in São Paulo’s and Rio’s bus fares comes nowhere close to matching inflation over that 30-month period. But bus fares are under government control, unlike other fast-rising costs such as those for housing and food. Perhaps they were simply chosen as a scapegoat.
More broadly, the very middle class that Brazil has created in the past decade—40m people have escaped from absolute poverty, but are still only one paycheck from falling back into it, and 2009 was the first year in which more than half the population could be considered middle class—is developing an entirely new relationship with the government. They see further improvements in their living standards as their right and will fight tooth and nail not to fall back into poverty. And rather than being grateful for the occasional crumb thrown from rich Brazilians’ tables, they are waking up to the fact that they pay taxes and deserve something in return. Perhaps their government’s triumphalism over those shiny new stadiums was the final straw.
Correction: we wrongly said above that Brazil had so far spent 3.3 billion reais on its World Cup stadiums. The correct figure is 7 billion reais ($3.2 billion).
「巴西這片綠洲之前似乎一片祥和，但是，突然之間，我們就 開始重現開羅解放廣場的示威活動，這些示威活動如此突然，毫無預兆，也沒有減弱之勢，」《聖保羅頁報》(Folha de São Paulo)的專欄作者埃利亞內·坎坦赫德(Eliane Cantanhêde)說。「我們都大吃一驚。我們從天堂掉落，至少是掉到了地獄的邊境。巴西到底出了什麼問題？」
Image may be NSFW. Clik here to view.The novels "Sandalwood Death" and "Pow!," by Nobel Prize winner Mo Yan, combine literary imagination with a peasant spirit.
一九九四年，家母所屬的教會對我發出譴責。當時拙著《道德動物》（The Moral Animal）剛出版，而且有幸獲得《時代》雜誌摘錄刊出。轉載的那部分內容談到，婚姻制度之所以搖搖欲墜，是因為它不盡符合人類演化而成的天性︰容易出軌乃放諸四海皆準的共通人性。《時代》的編輯部也刻意在雜誌封面凸顯這一點︰除了一幅怵目驚心的圖片（一枚裂開的結婚戒指），封面上還寫著：「對配偶不忠：該因子也許就在你我的基因裡」。
這也許就是何以約翰．盧伯克（John Lubbock）寫他論「野蠻宗教」的著作時，先在序言裡向讀者提出警告。在《文明的起源和人的原始狀態》（The Origin of Civilization and the Primitive Condition of Man）一書中，這位十九世紀英國人類學家指出：「討論這個課題時，難免要提及一些讓我們深感厭惡的事情。」但他又向讀者保證，他在探討「粗糙迷信的淒涼景觀和各種粗暴的崇拜方式」時，會「盡可能避開那些使讀者感到不舒服的東西。」
生於1963年，在委內瑞拉長大。大學時回到德國，就讀科隆新聞學院，在科隆、布宜諾斯艾利斯修讀經濟及政治學。他長住巴西20年，除了是《經濟周刊》（Wirtschaftswoche）、《商業日報》（Handelsblatt）和瑞士《金融與經濟週報》（Finanz und Wirtschaft）的駐外記者，他也在巴西的個人辦事處為投資者和企業提供當地投資建議。
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。
Image may be NSFW. Clik here to view. 林文月。 (圖／本報資料照片) 林 文月出生於上世紀30年代上海日租界，從小上的是日本人小學，接受了十多年母語式的日本語教育。日本戰敗，她回到祖籍台灣，才知道自己是「中國人」。之 後，林文月一路在台灣學習成長，讀的是台大中文系，畢業後一路做到母校中文系教授，可以說是將自己真正的母語，修成了正果。日語的先天優越，中文系的後天 學養，是她正式展開日本古典文學翻譯的雄厚資本。這兩者缺失一項，或許都要減分不少。目下出版的外國文學翻譯作品，更多出自外語出生的譯者之手。這讓我們 常常懷念過去年代富有國學素養、漢文功底深厚的周作人、錢稻孫、豐子愷等人的翻譯。從這一點上看，林文月的中文系身分，使她具備了可以上承這些前輩大家的 資質，無論在翻譯上，還是創作上。
Amazon has announced plans to offer buyers of printed books a copy of the text in digital form for free or at a discounted price.
Its Matchbook scheme will apply retrospectively to any title bought from the store since it opened in 1995. At present the offer is only being publicised on the firm's US website. Analysts agree it is likely to be expanded to others countries but are split over how significant an offer it will prove to be. Amazon said the programme would launch in October and would include more than 10,000 titles. Publishers involved include Harper Collins and Houghton Mifflin Harcourt. The retailer said it was now urging other authors and publishers to enrol. The company launched its Autrorip service, which allows people to get MP3 versions of CDs or records they have bought, in Europe in June, about half a year after the US. One expert said the latest move could overcome some shoppers' concerns about ebooks. "The problem with digital content, as people are just twigging, is that you don't own it, you just license it - you're renting it effectively," said Neill Denny, an independent book industry commentator. "So, to have both a physical copy and an ebook is quite an attractive proposition. And weirdly it might help print, because by bundling the content it locks the analogue to the successful digital model in a way that publishers have been struggling to find." However, Philip Jones, editor of trade publication the Bookseller magazine, was less enthusiastic. "I'm sceptical about whether the reader actually wants it," he told the BBC. "As far as I can tell most people read in one format, so they choose print or they choose digital and it's quite rare that they read both. "However, I can see there would be advantages for students or for people who have particularly weighty hardbacks that they'd like to read in print form at home and then as an e-book on the road."
Paperwhite upgrade Amazon said that Matchbook would offer digital versions of titles for prices ranging between $2.99 (£1.92) to free. "In addition to being a great new benefit for customers, this is an easy choice for publishers and authors who will now be able to earn more from each book they publish," said Russ Grandinetti, vice president of Kindle Content. The firm has also announced a new version of its bestselling Kindle Paperwhite e-reader, which is being made available outside the US.
Image may be NSFW. Clik here to view.Amazon says the second version of its Kindle Paperwhite has a 25% faster processor
The company said the latest version would turn pages faster and had a better front-light than the previous model. Amazon's chief executive Jeff Bezos told the BBC last year that his firm made no profit on Kindle hardware. Instead it aims to ensure shoppers come to its site to buy compatible ebooks and other goods from which it does make money. The wi-fi version of the new Paperwhite retains the previous £109 price tag as its predecessor, making it £11 cheaper than Kobo's Aura but still £40 more expensive than Barnes & Noble's Nook Simple Touch Glowlight. According to tech analysis firm Gartner, e-reader sales are expected to fall from 17.9 million units sold worldwide last year to 16.1 million in 2013 because many shoppers are instead preferring to buy tablet computers. However, for those still wanting e-ink based devices, which are easier to read in the sun and offer longer battery life than LCD-based alternatives, Mr Jones suggested Amazon's latest announcements should ensure Kindles continue to dominate the market. "I think the smartest thing here is that they are using their experience as a bookseller of some 15 years heritage across the rest of their business," he said. "They are saying to customers that if you stick with us and buy books from us, eventually in the long-term we will reward you. "I think that's an incredibly powerful message to send out to the consumer even if the practicalities of the Matchbook scheme make it less exciting than you might first think it is."
アマゾン、「Kindle MatchBook」を発表--印刷本購入者に電子版を3ドル以下で提供へ
Joan E. Solsman （CNET News） 翻訳校正： 編集部2013/09/04 11:09
Charlotte's Web is a children's novel by American author E. B. White and illustrated by Garth Williams; it was published in 1952 by Harper & Brothers. The novel tells the story of a pig named Wilbur and his friendship with a barn spider named Charlotte. When Wilbur is in danger of being slaughtered by the farmer, Charlotte writes messages praising Wilbur (such as "Some Pig") in her web in order to persuade the farmer to let him live. Written in White's dry, low-key manner, Charlotte's Web is considered a classic of children's literature, enjoyable to adults as well as children. The description of the experience of swinging on a rope swing at the farm is an often cited example of rhythm in writing, as the pace of the sentences reflects the motion of the swing. Publishers Weekly listed the book as the best-selling children's paperback of all time as of 2000.[1]
宇文所安（Stephen Owen），哈佛大学James Bryant Conant 特级讲座教授，任教于比较文学系和东亚语言文明系。主要研究领域是中国古典文学、抒情诗和比较诗学。他的研究以中国中古时代（200—1200）的文学为主，目前正在从事杜甫全集的翻译。主要著作包括《晚唐诗》（The Late Tang: Chinese Poetry of the Mid-ninth Century ，Harvard, 2006)，《中国早期古典诗歌的生成》（The Making of Early Chinese Classical Poetry ，Harvard, 2006)，《诺顿中国古典文学作品选》（An Anthology of Chinese Literature: Beginnings to 1911 ，Norton, 1996)，《中国“中世纪”的终结：中唐文学论集》（The End of the Chinese “Middle Ages” ，Stanford, 1996)，《中国文论：英译与评论》（Readings in Chinese Literary Thought ，Harvard, 1992)，《迷楼》（Mi-lou: Poetry and the Labyrinth of Desire ，Harvard, 1989)，《追忆》（Remembrances: The Experience of the Past in Classical Chinese Literature ，Harvard, 1986)，《中国传统诗歌与诗学》（Omen of the World: Traditional Chinese Poetry and Poetics ，Wisconsin, 1985)，《盛唐诗》 （The Great Age of Chinese Poetry: the High T’ang，Yale, 1980），《初唐诗》 （The Poetry of the Early T’ang，Yale, 1977）等等。生活•读书•新知三联书店自2003年起陆续出版“宇文所安作品系列”。
孫康宜（Kang-i Sun Chang），耶魯大學首任Malcolm G. Chace '56東亞語言文學講座教授。主要研究領域是中國古典文學、抒情詩、性別研究以及文化理論和美學。主要英文著作包括《詞與文類研究》（The Evolution of Chinese Tz'u Poetry ，Princeton, 1980)，《抒情與描寫：六朝詩歌概論》（Six Dynasties Poetry ，Princeton, 1986)，《情與忠：陳子龍、柳如是詩詞因緣》（The Late Ming Poet Ch'en Tzu-lung: Crises of Love and Loyalism ，Yale, 1991)。除了與宇文所安(Stephen Owen) 合編的《劍橋中國文學史》(Cambridge, 2010) 以外，還與魏愛蓮（Ellen Widmer）合作主編《明清女作家》（Writing Women in Late Imperial China ，Stanford, 1997)，與蘇源熙（Haun Saussy）合作主編《歷代女作家選集：詩歌與評論》（Women Writers of Traditional China: An Anthology of Poetry and Criticism ，Stanford, 1999)。此外，還用中文出版了多部關於美國文化、女性主義、文學及電影的著作。自傳《走出白色恐怖》（增補本）由生活•讀書•新知三聯書店2012年出版。
