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John W. Kluge Prize... Jürgen Habermas’s verdict on the EU/Greece debt deal; Habermas:A Very Short Introduction. 反抗的意義與非意義,

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Jürgen Habermas and Charles Taylor, two of the world’s most important philosophers, will share the prestigious $1.5 million John W. Kluge Prize for Achievement in the Study of Humanity awarded by the Library of Congress.

Yesterday brought news that the Library of Congress has awarded the John W. Kluge Prize for Achievement in the Study of Humanity to...
HARVARDPRESS.TYPEPAD.COM






Leadership and Leitkultur

By JÜRGEN HABERMAS
Twenty years after German unification, the country is still searching for democratic identity.


Jürgen Habermas’s verdict on the EU/Greece debt deal – full transcript

Read the full text of the Guardian’s exclusive interview with philosopher and sociologist Habermas, in which he describes the agreement as ‘toxic’


Jürgen Habermas
 Jürgen Habermas: 'We are stuck in a political trap.' Photograph: Martin Gerten/EPA/Corbis
Guardian: What is your verdict on the deal reached on Monday?
Habermas: The Greek debt deal announced on Monday morning is damaging both in its result and the way in which it was reached. First, the outcome of the talks is ill-advised. Even if one were to consider the strangulating terms of the deal the right course of action, one cannot expect these reforms to be enacted by a government which by its own admission does not believe in the terms of the agreement.
Secondly, the outcome does not make sense in economic terms because of the toxic mixture of necessary structural reforms of state and economy with further neoliberal impositions that will completely discourage an exhausted Greek population and kill any impetus to growth.
Thirdly, the outcome means that a helpless European Council is effectively declaring itself politically bankrupt: the de facto relegation of a member state to the status of a protectorate openly contradicts the democratic principles of theEuropean Union. Finally, the outcome is disgraceful because forcing the Greek government to agree to an economically questionable, predominantly symbolic privatisation fund cannot be understood as anything other than an act of punishment against a left-wing government. It’s hard to see how more damage could be done.


And yet the German government did just this when finance minister Schaeuble threatened Greek exit from the euro, thus unashamedly revealing itself as Europe’s chief disciplinarian. The German government thereby made for the first time a manifest claim for German hegemony in Europe – this, at any rate, is how things are perceived in the rest of Europe, and this perception defines the reality that counts. I fear that the German government, including its social democratic faction, have gambled away in one night all the political capital that a better Germany had accumulated in half a century – and by “better” I mean a Germany characterised by greater political sensitivity and a post-national mentality.
Guardian: When Greek prime minister Alexis Tsipras called a referendum last month, many other European politicians accused him of betrayal. German chancellor Angela Merkel, in turn, has been accused of blackmailing Greece. Which side do you see as carrying more blame for the deterioration of the situation?


Habermas: I am uncertain about the real intentions of Alexis Tsipras, but we have to acknowledge a simple fact: in order to allow Greece to get back on its feet, the debts which the IMF has deemed “highly unsustainable” need to be restructured. Despite this, both Brussels and Berlin have persistently refused the Greek prime minister the opportunity to negotiate a restructuring of Greece’s debts since the very beginning. In order to overcome this wall of resistance among the creditors, prime minister Tsipras finally tried to strengthen his position by means of a referendum – and he got more domestic support than expected. This renewed legitimation forced the other side either to look for a compromise or to exploit Greece’s emergency situation and act, even more than before, as the disciplinarian. We know the outcome.
Guardian: Is the current crisis in Europe a financial problem, political problem or a moral problem?
Habermas: The current crisis can be explained both through economic causes and political failure. The sovereign debt crisis that emerged from the banking crisis had its roots in the sub-optimal conditions of a heterogeneously composed currency union. Without a common financial and economic policy, the national economies of pseudo-sovereign member states will continue to drift apart in terms of productivity. No political community can sustain such tension in the long run. At the same time, by focusing on avoidance of open conflict, the EU’s institutions are preventing necessary political initiatives for expanding the currency union into a political union. Only the government leaders assembled in the European Council are in the position to act, but precisely they are the ones who are unable to act in the interest of a joint European community because they think mainly of their national electorate. We are stuck in a political trap.


Guardian: Wolfgang Streeck has in the past warned that the Habermasian ideal of Europe is the root of the current crisis, not its remedy: Europe, he has warned, would not save democracy but abolish it. Many on the European left feel that current developments confirm Streeck’s criticism of the European project. What is your response to their concerns?

 Jürgen Habermas is emeritus professor of philosophy at the Johann Wolfgang Goethe University of Frankfurt. His latest book, The Lure of Technocracy, is published by PolityHabermas: His prediction of an imminent demise of capitalism aside, I broadly agree with Wolfgang Streeck’s analysis. Over the course of the crisis, the European executive has accrued more and more authority. Key decisions are being taken by the council, the commission and ECB – in other words, the very institutions that are either insufficiently legitimated to take such decisions or lack any democratic basis. Streeck and I also share the view that this technocratic hollowing out of democracy is the result of a neoliberal pattern of market-deregulation policies. The balance between politics and the market has come out of sync, at the cost of the welfare state. Where we differ is in terms of the consequences to be drawn from this predicament. I do not see how a return to nation states that have to be run like big corporations in a global market can counter the tendency towards de-democratisation and growing social inequality – something that we also see in Great Britain, by the way. Such tendencies can only be countered, if at all, by a change in political direction, brought about by democratic majorities in a more strongly integrated “core Europe”. The currency union must gain the capacity to act at the supra-national level. In view of the chaotic political process triggered by the crisis in Greece we can no longer afford to ignore the limits of the present method of intergovernmental compromise.
Jürgen Habermas speaks at the Catholic University of Leuven Photo: Bernd Riegert, DW

Eurozone crisis

A philosophical critique of EU politics

Renowned German philosopher Jürgen Habermas has expressed his doubts about the current state of affairs in the European Union. He sees a need for more cooperation and more democracy.
Over 500 students were gathered in the largest auditorium at the Catholic University of Leuven in Belgium, waiting with excitement for the prominent sociologist and philosopher to make his appearance. And those who had not managed to reserve a spot could watch the lecture on a large screen mounted outside the building. When the 83-year-old Habermas finally walked into the room, the young audience rose to its feet and welcomed him with a warm and long applause.
Habermas proceeded to give a lecture titled "Democracy, Solidarity and the European Crisis" - his first public talk on European politics in many years. One of the attendees was President of the European Council, Herman Van Rompuy, who has been heavily involved in combating the eurozone crisis.

Need for solidarity
Habermas harshly criticized the euro bailout policies, saying that the EU has become a financial market-oriented technocracy. Instead, he proposed the development of a "supernational" democracy, in which the current nation states continued to exist but gave up their sovereignty.
"If we want to maintain the common currency, it's not enough to grant credit to individual insolvent countries in order to put them back on their feet," explained Habermas. "Instead, what we need is solidarity and a cooperative approach that results from a shared political perspective."
Herman Van Rompuy at the Habermas lecture at the Catholic University of Leuven Photo: Bernd Riegert, DWVan Rompuy holds Habermas in high esteem
Habermas called for the democratization of the European Union and democratic management of the European Council.
He added that EU treaties should be reviewed by a convention and amended. He believes that the German government holds the key to change in the European Union. It has a leading role for demographic and economic reasons, he said, and should not succumb to the temptation of following its own independent course. It should not be about a "German Europe" but "Germany in Europe." In order to secure the future of the eurozone, the currency union needs to be transformed into a true political union, he stressed.

Europe is changing
Van Rompuy himself began studying philosophy in 1968. At the time, Habermas was already a widely known sociologist working in Frankfurt. He said that meeting Habermas in person was something special because he was a man who has been theorizing about Europe and European unity for decades. However, he added, "when we spoke to each other, we didn't agree on everything. As a politician and an intellectual, our roles and responsibilities are different."
Habermas said that he can understand that it is difficult for the European Council to make decisions with far-reaching consequences. "Nobody wants to deprive themselves of power, but the economic reality will bring about change," he explained.
In his own short address, Van Rompuy indirectly contradicted this statement, saying that heads of state and government would very likely soon make landmark decisions together.
"You also told me you're worried about countries that could be forced to go their own way," said Van Rompuy to Habermas. "This concern also pertains to your home country, Germany." Nevertheless, Van Rompuy personally sees Germany and other EU states as well incorporated and integrated into the union. According to him, the "you and I" has become a "we."

Austerity measures gone too far?
Following his lecture, Habermas answered questions posed by the professors and students present. Replying to one of them, he advised that the strict cost-saving policy introduced by Germany and other solvent states in the northern half of Europe should be relaxed.
Jürgen Habermas speaks at the Catholic University of Leuven Photo: Bernd Riegert, DWThe young people in the audience showed support for Habermas' theories
"I would opt for a more balanced economic course that includes focused investment programs for regions and entire countries," said Habermas. "This should counter the currently escalating trend - the trend of a growing gap between the eurozone member states in the area of competitive capacity and other fundamental aspects."

Hopes for the future
More democracy and solidarity in Europe - many of the students in the auditorium were supportive of the idea. One of them was Peter Oomsels, who is currently writing is doctoral thesis on the topic of management.
"This evening we learned that the European Union has come a long way, but still has an equally long way to go," said Oomsels. "We're still in the early stages of the EU's second phase of development."
He believes that Habermas' critique reflects the thoughts of young EU citizens. "We still have the dream of the European concept, but are disappointed with how Europe is currently being governed."
At the end of his lecture, Habermas glanced at his watch and amused the audience by apologizing for having taken so much time. In his final comment to Van Rompuy, he said, "The governments in Europe are simply too fearful. The EU-related questions need to be presented to the people to decide on."
At the next EU summit in three weeks' time, Van Rompuy will have the opportunity to put into practice some of the philosophical musings stemming from this discussion.

James Gordon Finlayson,2005,Habermas:A Very Short Introduction, New York, Oxford University Press.


 我們可以用哈佛大學為李歐梵教授(Leo Lee)所舉辦的退休研討會(議題是「 華 人 的 世 界 文 化 觀 」)之網頁(http://www.fas.harvard.edu/~fairbank/leolee/about.html#top)為例,其中的一段杜維明教授的說法:
…Tu posited Cultural China as an "emergent cultural space" (akin to the Habermasian"public sphere") created by a continuous interaction among its three "symbolic universes." The first of these symbolic universes is constituted by inhabitants of "China proper" (he includes the Mainland, Taiwan, Hong Kong, and significantly, Singapore); the second, of Chinese living in overseas Chinese communities around the world; and third, perhaps most radically, of all those--including non-ethnic Chinese--who are engaged in shaping the ongoing intellectual discourse of Cultural China. Thus through this re-conceptualization, "Chineseness" becomes not a given but an attainment, and one with potentially universal expandability….
【學點最基本的英文用法:"名詞+proper "此處的proper為嚴格意義的、真正的、本身的(. Rightly so called; strictly considered; as, Greece proper;
the garden proper. )】


反抗的意義與非意義
 作  者: (法)朱麗婭.克里斯特瓦  出版單位: 吉林出版集團  出版日期: 2010.01
《反抗的意義與非意義》彙集了克裏斯特瓦於1994到1995年在巴黎第七大學關於精神分析學的課程講義,作者在其中剖析了精神分析學的作用和局 限,並通過20世紀三個作家的經歷來反抗文化的進展和死路:阿拉貢,文字魔法師和政治騙子;不屈的薩特,“人應該反抗”的提倡者;最後還有巴特,用寫作未 揭穿謊言的雅士。 本書適合從事相關研究工作的人員參考閱讀。

內容簡介:
作為我們獨立性和創造力的保證的反抗依然可能嗎?誰還能反抗?應反抗什麼?採用何種新方式?針對“娛樂”文化,是否可以建立並熱愛一種反抗文化?
朱 麗婭‧克裏斯特瓦構想的反抗不再是一種社會介入方式或烏托邦幻想。從詞源學和普魯斯特的意義上講,反抗是對過去、回憶和意義的揭示、顛覆、移動和重建的過 程。本書彙集了克裏斯特瓦於1994到1995年在巴黎第七大學關於精神分析學的課程講義,作者在其中剖析了精神分析學的作用和局限,並通過20世紀三個 作家的經歷來反抗文化的進展和死路:阿拉貢,文字魔法師和政治騙子;不屈的薩特,“人應該反抗”的提倡者;最後還有巴特,用寫作未揭穿謊言的雅士。

作者簡介:
朱 麗婭‧克裏斯特瓦(Julia Kristeva)原籍保加利亞的法國著名文本理論家、精神分析學家、女權主義者和小說家,也是繼羅蘭‧巴特之後活躍於當今思想界的法國哲學家。現為巴黎 第七大學教授,多所世界名校的名譽教授。克裏斯特瓦從20世紀60年代就開始了對精神分析學的研究,‧提出了“卑鄙”、“過程中的主體”等概念。她在符號 學上也取得了很大成就,將精神分析學帶入符號學的研究,極具建設性地探討了語言與身體的關係。因為將小說和廣義上的藝術創作看作當代反抗的一種有效形式, 近年來克裏斯特瓦亦涉足小說創作,進一步展現了她廣闊的視角和多方面的才華。克裏斯特瓦和羅蘭‧巴特同為後結構主義文本理論的創立者,主要學術著作有: 《符號學:符義分析研究》(1969)、《恐怖的權力,論卑鄙》(1980)、《面對自我的陌生》(1988)、《心靈的新疾患》(1993)、《敏感時 代》(1999)、《梅勒妮‧克萊因》(2000)。小說作品有《武士》(1990)、《老人與狼》(1991)、《特瑞斯我的愛》(2008)等。

圖書目錄:
致謝
第一章 何謂今日之反抗?
反抗:運動
反抗:時間和空間
將個人標準化、墮落化的秩序
文化反抗
失去的地基
佛洛德:反抗和犧牲
為什麼是阿拉貢、薩特、巴特?從精神分析學的角度來說,是誰害怕阿拉貢、薩特、巴特?
第二章 神聖和反抗:幾個邏輯
骯髒
對潔淨的考古學探索
教士和好動的男孩子
違抗,回想,遊戲
神性的永恆和/或者語言的緊迫
第三章 佛洛德之發現——“語言”的蛻變(佛洛德的語言模式)
1 語言的中間地帶:異質性的、無主體的系列一
漸近線
異質性
仲介
2 語言的樂觀模式證實了“自由聯想”的正確性
意識控制之下的無意識
是誰不知矛盾?
純粹數學模式和衝動
3 象徵契約和物種發育:從意義生成到人
同化人化過程
自戀,抑鬱,死亡衝動
語言,錯誤的源泉
4 性欲和思想的並存
“疲憊者”還是“青少年”
移情作用
昇華作用
物種發育還是存在?
“自由聯想”難道僅僅是一種語言?
再談昇華:再次被賦予性特徵
自由聯想的危險和益處
第四章 再談俄狄浦斯,或菲勒斯一元論
意識/無意識與認識
再談俄狄浦斯,索福克勒斯和佛洛德
《俄狄浦斯王》
陰莖至上
菲勒斯一元論
俄狄浦斯和失敗
兩性的俄狄浦斯結構
兩個側面
早熟和雙相
性欲與思想的共存
父親的存在與死亡
菲勒斯秘密祭禮
第五章 關於菲勒斯陌生,或幻望與幻滅問的女性
菲勒斯有利時機
“無法忍受”和“秘密祭禮”
欲望和意義
女孩的雙面俄狄浦斯
感性與能指‧菲勒斯陌生‧幻望
雙一俄狄浦斯
母性:完備與虛空
超社會和易受傷的
受兩性畸形幻想之苦或是繞幻望而行?
第六章 挑戰與偽裝:先驅者阿拉貢?
1 三種不可能
布勒東:反抗藝術
女性與神奇
2 為伊萊娜辯護
“欺騙真實”
從阿尼塞到南茜‧居納爾
“寫作是我思考的方式”
快感可以表達一切
3 史達林主義與無限感性格格不入
“我不知道我是誰的時候,我就是這樣”:“結合”替換了“存在”
無限感官或瀕危的非思想
反抗的不可能性
(政治、媒體的)介入並不總是幌子?
第七章 薩特,或者“人應該反抗”
1 “我是自由的”
諾貝爾獎事件
一個自由的人,一個能理解我們困境和熱情的人
“我成了自己的陌生人我只得遵循自己的法律”——寫於維希時期的《蒼蠅》
為反對惡的平庸化:執行自由
作為表演的真實
從作為傳聲筒的人物到哲學小說
2 “小說一哲學”
一個“憂鬱的”哲學家揭示了噁心的臨界狀態
拒絕作為“他者”和“過去”的存在
存在和非存在的邊界
3 尋找一種可靠的行為
存在一他者
從胡塞爾到黑格爾或者從“認識”到“意識”
不可達到的他者:多個意識的難題
共在:薩特對海德格爾的閱讀
寫作是一種神經官能症嗎?可能。但是
“無論如何,社會秩序建立在一種欺騙之上”
第八章 羅蘭‧巴特和揭示謊言的寫作
1 昇華的理論
《零度寫作》
在“理所當然”的意義下:意義的不可能或過剩
巴黎為什麼會出現“精緻的危機”?
武士
否定性和自由:反對主觀論
既非風格又非語言
形式的倫理學
在布朗舒和薩特之間
2 符號學和否定性
多形態的寫作:強制權
如何寫作法國大革命?
小說:欣喜處決
結實的“他”和粉碎的“他”:巴爾扎克或福樓拜
對語言理想性“去物質化”
作為否定性的語言:死亡和諷刺
作為文本的愉悅的無神論
書名及人名中外文對照表
術語中外文對照表

莊永明先生蒐藏展 ; 《台灣記事》《台灣醫療史》《活該如此:莊永明七十自述》

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台灣庶民史專家莊永明12日在莊協發港町文史講亭舉行《活!該如此》新書分享會,73歲的他寫下40餘年來踏查大稻埕、八芝蘭和大龍峒等台北老街的心路歷程。(陳芷若攝)


1942年出生的台灣庶民史專家莊永明,看盡台北大稻埕的歷史變化,受老前輩影響,培養豐富創作資源,莊永明認為自己集「天時、地利、人和」於一身,自己就是一部活的台灣課綱。12日發表新書《活!該如此》,73歲的他寫下40餘年來踏查大稻埕、八芝蘭和大龍峒等台北老街的心路歷程,為台灣歷史留下寶貴紀錄。

新書分享會開場用三味弦彈奏台灣歌謠望春風,而望春風的作詞人李臨秋就是莊永明的鄰居。(陳芷若攝)


莊永明12日在莊協發港町文史講亭舉行《活!該如此》新書分享會,書內以個人回憶錄方式,為近45年的文史研究生涯下了註解。莊永明以歷史見證人的身份留下自述,回溯時間超越自己出生的年代,用許多第一手史料,將台灣歷史用最貼切、不偏頗的角度去刻劃。莊永明表示,生命本來就是個驚奇,活著就是要超越現實,他仿造明末清初才子金聖歎的《不亦快哉33則》,在書中寫出33則生命的軌跡和人生的責任。



累積50幾本著作的莊永明,是從大稻埕打開書寫台灣歷史的第一步。他認為台灣社會或政治人物對歷史的態度,普遍不求真相,只擷取對自己有利的部分,讓人相當感傷。從未受過正統史學訓練的莊永明,經常從自己蒐集的史料中推翻歷史公案。

莊永明認為集「天時、地利、人和」於一身,自己就是一部活的台灣課綱。(陳芷若攝)

對於歷史與古物的熱愛,莊永明表示,他想將大稻埕照片及收藏集合成一本書,以出生地大稻埕出發,重現城內舊事風華。

台北霞海城隍廟管理人陳文表示,自己為莊永明老師感到驕傲,他為歌、為藝術辛苦找了許多歷史資料,並將其寫成文字記錄。對於莊永明在書中最後詢問自己是否為孤獨的人,陳文落淚回應,「我想你不會孤獨、不會孤單,因為我們是朝著您的腳步前進。」

台北霞海城隍廟管理人陳文,哽咽地為莊永明老師的付出感到驕傲及感謝。(陳芷若攝)
莊永明簡介:


1942年出生於茶香歲月之大稻埕,為國內知名台灣文史專家,同時被公認為台灣民間史料收藏最博雜、豐富的研究者之一。

1970年代崛起於文壇,陸續在報刊雜誌發表文章。1982年,應《中國時報》之邀,撰寫「台灣第一」專欄,而享有「台灣第一」的稱謂。從《台灣第一》、《台灣紀事》、《台北老街》,到《台灣鳥瞰圖》、《台灣醫療史》以及三大本《台灣世紀回味》等,至今共出版五十餘本著作。其中台灣歌謠是他的最愛,出版有《台灣歌謠追想曲》、《台灣歌謠──我聽 我唱 我寫》,以及有聲書《台灣歌謠尋根》等。

除了蒐集台灣文物、書寫台灣主題專書外,足以自傲的資歷為擔任「大稻埕逍遙遊」文史導覽長達十年之久,超過10,000人次跟著他一起上街走讀。其老家「莊協發柑仔店」已被列為台北市定古蹟,以策展、講座、老街導覽等方式,活化古蹟,推廣文史。


旅行基因‧觀光密碼─莊永明先生蒐藏展

文、圖/台北市文獻委員會提供
旅行在古早的台灣是很困難的事,那時沒有鐵路,也沒有高速公路,當時從台北出發到高雄,可要花上十多天!直至1908年修建完成西部縱貫線鐵路,各車站節點的設立、旅遊指南的編印、新地標的建置,重新塗寫重組了台灣地景,制度化的建立改變了台灣旅遊型態,「觀光旅行」的觀念開始在台灣萌芽。到了1970年代無煙囪工業興起、十大建設逐一完成,以及國家公園的設立、解嚴、開放兩岸探親觀光等,各縣市在文化產業政策下發展地方特色,今日國民旅遊風已跳脫鐵道束縛進入公路小徑,台灣觀光已是十分多樣化了。

台北市鳥瞰圖

台北市鳥瞰圖

本展以莊永明先生收藏的文物為展示重點,包含通車紀念郵摺、旅行郵票首日封、旅行案內指南、觀光行旅地圖等相關文物達2百多件。
莊永明先生長年鑽研文史,對歌謠俚語、庶民生活、歷史佚事與民俗活動如數家珍,收藏的文物書籍多不勝數,堪稱保存豐富史料的「台灣通」。本展希望藉由莊永明先生豐富的個人蒐藏,以老台北的觀光歷程出發,從歷史脈絡細看台灣觀光,透過旅行元素,一一訴說其時代記憶,重現自日據以來台灣觀光的發展記錄,開啟人們對於觀光記憶的歲月密碼。
大船入港‧觀光起步走
日據時期台灣與日本之間定期往來的航線,是台灣「觀光旅行」的第一步。1930年代開始有人組織團體旅行到日本觀光,當年有能力參加旅行團的台灣人,都是屬於經濟能力相當優渥的商人和仕紳階級。1935年為期50天的「始政四十週年記念台灣博覽會」更是達到高峰,不僅吸引了2、3百萬人與會參觀,官方政府也藉機向日本地區推廣「台灣旅遊觀光行程」,針對不同的路線及客層,規劃出「遊臺5 日行程」、「遊臺7日行程」、「遊臺9日行程」及「遊臺12 日行程」等行程,套裝行程的旅行概念在此已逐步萌芽。
火車快飛‧鐵道環島遊
1908年基隆到高雄間的縱貫線鐵道全面通車,雖然當時火車票價不便宜,從台北到台南,三等票價就要花費一個臨時工半個月的工錢,但是卻也從中體驗了旅行趣味。1979年縱貫鐵路電氣化完成,北迴鐵路和南迴鐵路相繼通車,形成環島鐵路網。高鐵通車後,北高之間的旅行時間更是再縮短為90分鐘,整個台灣西部成了「一日生活圈」。我們以3百公里時速南北高速賓士,觀看台灣的方式,也和一百多年前縱貫鐵道全通時有很大的差別,「體驗台灣」變得更加多元、豐富。





劉美蓮的相片。


給「莊永明」熱烈的掌聲!

1975年我師大音畢,開始看到雜誌(從小冊到大冊到報紙),有人寫〔台灣歌謠故事〕,很敬佩!偶爾音樂會碰到象牙塔內的老師們,難免想問一下,結論是:〔對本土歌謠100%一問三不知〕,還有人非常非常科班門戶地問:這位「莊永明」是我們師大第幾級的呀?&:這是流行歌耶!&:遣詞用字很不科班耶!…&…!

《台灣第一》由【文經社】出版(發行尚未成大名研究者的第一本書,應特別表揚出版社),剛出爐時,我還是高收入的鋼琴名師,許多高尚又崇洋的音樂文化人都收過我郵贈的《台灣第一》。


接續的《台灣紀事》、《台灣名人小札》、《台灣鳥瞰圖》、《台灣歌謠尋根》……都在我家書架上,記得有次我緊急電話求助莊老師,因為,我書架上的書,已忘記被誰借走啦!

十幾年後,長江後浪推前浪,開始有年輕人在媒體指責莊永明的錯誤,記得我罵過李〇〇,或許罵得有理,日後在金曲獎評審見到,他還很懂得尊敬「偶有小錯」的老人喔!

阿扁當市長時,文化局只是籌備委員會,由新聞處長羅文嘉做主(其實,應由副市長統籌),當師母的我也鄭重提醒他:「真正值得聘請與諮詢的文化局籌備委員,應是〔戒嚴時期〕就孜孜不倦碌力於台灣文化之人,而非解嚴後搶風頭之人」。

有次,莊老師當面訴說:阿扁見過他很多次,都還叫不出「莊先生」三個字,更遑論“莊永明”。他在1994選前被諮詢時所建言的:為台北市文化先賢塑立銅像或……,都無疾而終。只好把這個文化功績拱手送給續任的馬英九市長了,結果,文化研究者莊永明此生第一張與官方有較大關係的聘書,是馬英九市長所發的【台北市文獻委員會/副主任委員】聘書,相信莊先生應有不方便罵人的故事。

此時,台大醫學院給他一個研究室,請他撰述《台灣醫療史》(我看他留的電話﹡123456始知),台北醫學院也請他授課,從此,我是理所當然地延續一直以來的尊稱他為「莊教授」、「莊老師」!

我也曾傳遞「音樂人的尊敬」給陳郁秀女士,在她還沒當官,就拿官方超級預算做「台灣音樂百年」時,雖不得不與夫婿盧修一立委親訪莊老師,卻大啦啦地、不尊重前輩的研究,諸多引用也顯現錯誤,以及〔不尊重著作權〕(這我可是大啦啦打電話到系主任辦公室的)!文章也只稱拓荒者為「民間研究者」或「庶民文化」或「內心瞧不起人/都市人看鄉下人」的用字與語氣。

更多的故事,莊教授陸續寫在【文訊】的專欄,今賀喜集結成書!請給【終身台灣文化研究者莊永明】熱烈的掌聲!



〈心路?筆痕?書影〉  
歷史今天 今天歷史◎莊永明《文訊 》2月號/2014 第340期 




2011年1月26日星期三


台灣醫療史──以台大醫院為主軸

《台 灣醫療史》封面,大圖為日本時代台中州霧社的原住民孩童接受齒科治療,左上小圖由上而下依序為:馬偕宣教時為民眾拔牙、創設台灣第一家私立婦產科醫院 (1920年創立)的高敬遠醫師於1917年擔任醫官時檢查病患的情景、1960年代聯合國兒童基金會支援設立的「牛奶站」發放奶品情景。
﹝自序﹞

一九九三年,我為台灣省文獻委員會撰寫「台灣先賢先烈專輯」的第一本書《韓石泉傳》問世之後,韓石泉哲嗣韓良誠、韓良俊昆仲即建議我再接再厲,執筆寫出台灣第一本的「台灣醫學史」——其實當時我正想加快速度,把已經寫作有年的《台灣歌謠傳》趕完。

一九九四年十二月,在韓良誠醫師力薦之下,經戴東原院長允諾,我進駐了台大醫院東址大樓02—64的一間小研究室,「無業遊民」突然之間擁有了屬於自己的辦公室,欣喜之情,可以想見,唯一缺憾的是它沒有一扇窗戶,可以調適工作疲憊的視力。

當初的計劃,是以一年的時間,完成一部以台大醫院為主軸的《台灣醫療史》,之所以會捨去用《台灣醫學史》之名,當然是諸多學術領域的探討,我沒有能力介 入;其實作業之前,我對醫療知識,也是一張白紙,要以有限的「史學」知識,去建構一部醫學歷史,自然困難重重,所以每天窩在小空間的研究室,總是抱著惶恐 的心情;「上窮碧落下黃泉,動手動腳找東西」,堪以比擬我盡力收蒐資料的用心。

我在一九九五年年底,依照原計劃完成了三十萬言的初稿,上半年也為台大醫院慶祝一○○週年院慶所編撰的兩本紀念集:《台大醫院壹百年》、《台大醫院百年懷舊》,盡些綿力。

《台灣醫療史》這部著作,最早的安排是在一九九六年六月二十日出版,但卻因故延誤了下來;還好,《台灣鳥瞰圖》一書的出版,沒有使我在這一年的個人「寫作年表」上留下了空白!

《台灣醫療史》終在台大景福會首肯下,決定出版此書,對於醫界耆老的關心,感激不盡。

我以一○○個章節來處理此部「台灣醫療通史」,絕非刻意湊合,其實我執筆之前,曾幾度向莊哲彥、韓良俊兩位醫師表示:我如果能完成九十九個章節,就可算對 這部著作,有了「交代」,因為「九十九」代表的是未完成的著作,也正是我「能力」所及之處,要構成百篇的「完美」台灣醫療史著作,期望將來有心人去完成。

以百萬言,甚或千萬言,都不足對台灣醫療歷史的演進,加以詳盡紀錄,因此我以三十三萬言左右寫出的《台灣醫療史》,必然有挂一漏萬的現象,但相信已盡了 「拋磚引玉」之責;我所臚列的一○○個章節,正是一○○個「題庫」,可以提供有志者選擇其中的一個題目,做為研究對象,繼續做深入追蹤,完成一○○篇論 文、一 ○○本著作,甚至更多,那台灣醫療史不僅可成為顯學,而且可以彰顯於台灣史!

近幾年來,個人有幸應邀在台北醫學院講授「台灣百年醫學史略」,發現一般年輕的醫校學生,對人文知識探求的熱忱,每下愈況,此種現象,現代所謂「新新人 類」,莫不有此「症頭」,這本非「通俗」醫療史,所期望的是能成為對症下藥的「藥方」,因為它絕非「難讀」,更不是不容易入口的「苦藥」,應該是人人都可 以清爽入喉的人文書籍。

衛爾康大藥廠創始人亨利.衛爾康創設了「衛爾康醫學史研究機構」,它庋藏的西方醫學史料,使它成了世界醫學史研究的重鎮,研究者和參觀者,無不以朝聖者的 心情去「挖寶」;「台灣學」逐漸被重視的今天,「台灣醫學」必然也將成為重要的研究對象。雖然台灣難有可能成立像「衛爾康醫學史研究機構」這種世界級的醫 學圖書館,但是總應該有一座一定規模的台灣醫學專業史料典藏館和圖書館,此為我在撰述這部書,蒐集資料過程中,經常懷抱的一個夢想。

醫療史料蒐羅維艱,而且醫學術語的解讀,對我個人來說,也非易事,如今,我竟能完成此一「雙難」的工作,信心全來自於眾多人士的熱心鼓勵;多謝關懷此書的 所有朋友們,您們的付出,我永遠感激在心。恕我無法一一列出各位的大名,倘使本書能獲得些許好評與肯定,則我堅持大家一齊來分享,畢竟這本書是「群策群 力」的成果,而我只不過將它寫出來而已。

(莊永明謹序於台大醫院東址02—64室)

﹝目錄﹞
序言/林國信
自序
【明清篇】

1美麗台灣   水土埋冤   2東寧建國 初有儒醫   3清領台灣 唐山過台 
4救卹事業   附設醫療    5法軍犯台 台北建城   6台灣建省 醫局初設
7門戶洞開   西醫來台    8府城行醫 新樓創院   9熱帶醫學 打狗濫觴
10神學教育 視障學校  11淡水行醫 寧願燒盡   12彰化醫館 割膚救人
13侵入牡丹 初嘗熱病
【日治篇】
14台灣淪日 病院創始     15台北府城 日人島都     16軍管病院 制度變更
17領有台灣 普設病院     18據台初期 總督頻更    19水道工程 公衛施設
20兒玉後藤 鞏固統治     21內外兩科 再行分部    22遷院城內 規模更新
23「鬼界之島」瘟疫流行 24公醫規格 建立醫網    25赤十字社 設台支部
26醫事雜誌 醫學會誌     27醫學會議 學術研討    28公衛諮詢 頒令法規
29管理漢醫 實施西醫     30按摩針炙 專業管理    31番地調查 山地醫療
32征討番社「理番」醫療 33護士工作 女子天職    34產婦人科 開創維艱
35產婆講習 助產培訓      36研究機構 中央統轄    37藥理研究 成績斐然
38民眾反毒 更生戒毒     39官立醫院 漸次轉型    40衛生教育 宣導活動
41南進策略 熱帶醫學     42醫師養成 招生不易    43改辦醫校 醫院遷址
44醫校授課 聲譽漸隆     45衛生總督 醫校校長    46景福新址 建築宏壯
47開明作風 校風自由     48醫校學生 時代前鋒    49服務社會 成就斐然
50山地醫官 宿命不同     51熱帶醫學 醫專設置    52台日共學 醫校分制
53創設大學 議論分歧     54台北帝大 醫部成立     55醫學雙軌 兩校並存
56台北醫院 移交帝大     57內科講座 三大主題    58外科講座 設置兩部
59同窗成會 團結校友     60南方醫學 幾成顯學    61戰爭期間 混亂學制
62戰況日緊 醫師捐軀     63頻製冤獄 醫師受迫     64盟機空襲 疏散鄉間
65恐怖戰火 波及醫院
【戰後篇】
66日本投降 帝大移交     67醫院接收 台醫出頭     68災後重建 百廢待舉
69設置專修 學籍變更     70學制更改 語言換用     71爭取編制 罷診抗爭
72疾病傳染 死灰復燃     73日赤醫院 改歸省立     74二二八劫 醫權難保
75校長院長 更動頻繁      76設病理科 立研究所    77自由學風 出國進修
78大陸隔絕 軍醫遷台      79白色恐怖 醫師受害    80衛生保健 政策薪傳
81籌設漢方 遭受撤銷     82蛇毒研究 薪火相傳     83住院醫師 清貧生活
84美援挹注 觀念丕變     85學術租界 啟迪研究    86教育體制 辦學理念
87自由職業 豈在營利     88常德之史 歷史佐證    89醫師十箴 醫師公約
90山地醫療 照顧未及     91新醫師法 步履蹣跚    92文明症群 考驗醫政
93優生保健 人口政策     94心臟外科 成果斐然    95連體分割 群策群力
96十年整建 世紀搬遷     97教學醫院 醫療建立     98全民健保 社會保險
99百年跡痕 邁向未來    100衛生大國 全民健康

參考書目
〈附錄〉台灣醫療大事記




◎歷史台灣內容節錄自莊永明先生著《台灣紀事(上)(下)》一書(時報出版社出版
),著作權屬莊永明先生所有,
http://www.rti.org.tw/taiwan/TaiwanHistory.aspx?id=353&Month=7



不知道怎麼來描述高雄市之旅的見聞。回來台北,讓我覺得車上及旅途的人口密度爆增。我約8年沒到高雄 這期間高雄幾乎有翻天覆地的改變 譬如說 捷運直接到楠梓加工區門口 多了世運體育館 許多濕地公園 美術館也努力追求高雄150年前的照片中的identity...


 .......仔細看高雄的捷運車輛,就可以知道它的構造與台北的,差異很多的。現在的覆蓋率和價格也許還不理想,但我看到通到南岡山,相信它會TRANFORM 大高雄區域的。

 我們現在在高雄的圓山飯店,它與我在20年前杜邦公司來此開會時的情況 ,變化比較少..... 台北創立60年,高雄40年,不過高雄的營業似乎大不如台北的。 他們2003年才開始有待圓訊月刊。 他們的電視台已調到為陸客和日商等最基本的台,無CNN 年代/三立新聞台,幸虧我昨晚還可以看公視的怪醫豪斯......
  
我認為旅館的經營者應該有機會以旅客身份住數十小時 ,可以了解旅客所體驗的他們種種服務究竟實際如何.......
       
澄清湖周旁蓋起大廈,不過,內部似乎縮小些,景物變成都市中的珍玩品,市民要花近百元的門票,我覺得他們應該只收象徵性清潔費,多鼓勵市民利用它.....

高雄市住的是YY朋友介紹的,我看地址誤以為是大飯店,還跟Weilly說要在lobby見。後來發現它是高檔的民宿,整樓類似20間的love hotel。裝飾是老闆收藏的古董自行車。抱怨歸抱怨,3樓面臨愛河的角度很可觀,今晨朝陽映照在電影資料館前的河流,真的很美.。我昨晚與W晚餐,嗜聽他的許多故事與觀察,沒去附近逛。今晨去河岸和碼頭走走,碰到許多單車客和運動者,這無疑是個幸福的城市。市政建設不錯---我看他們使用的木料,比較佩服此城。


此城的弱點是台灣的通病,大型雕塑品俗不可耐---可他們大樓整體牆面的通信產品的廣告很有點震撼力 (這家韓商在德國商展正推出最大螢幕的手機,據說很有些創意........規模可能是台北新生南路誠品臺大店的十倍大小,捷運車上的Kotex廣告也是整車廂清一色單一廠商廣告

 誠品高雄店似乎帶給此城一點文化氣氛---其實我們三年前到台中阿松家,他的太太和女兒是下高雄聽音樂會的。

9月1日的愛河在示範滑水

紐約時報在談論某公司總部的設計請的設計名家反而是保守有加:
Frank Gehry is an unsurprising choice to design Facebook's new headquarters - and that's the problem.
想起的是高雄市區興建中的中鋼公司的總部,很獨特又似很面熟。我們在某大樓的畫廊中咖啡廳遙望之,談的是表弟夫婦忙錄的代書業務,以及他們寵愛有加的大學生兒女,我覺得親情之網真是可能有利有弊。表弟一家介紹我們美濃的好名宿。

他們知道我60年代起就去過幾次西子灣,知道我不會喜歡中山大學已經讓該地破壞殆盡。最讓我驚訝的是,我忘記那兒英國領事館的第一代修護工作,是由家父和弟弟去負責完成的,姨丈說他們在那兒工事至少數月。

 


日期:1920/9/1
實施地方制度改革,打狗更名「高雄」



.......「打狗」成了歷史、傳說上的名詞,在1920 年今日。據台的第八任總督田健治郎,於 1920 年 7 月 27 日公布改定地方官官制,依據敕令第 218 號第 1 條規定,於當年 9 月 1 日及 10 月 1 日分別實施台灣地方制度改革,廢廳為州,將全台劃分為台北、新竹、台中、台南、高雄五州及台東、花蓮港二廳,從此以日語同音的「高雄」取代了「打狗」。

「打狗」又有「打鼓」之稱,昔為倭寇海盜出沒之處,當地生番大族時受其擾,乃用刺竹做成圍牆,以防禦外族入侵;竹圍的番語讀如「打狗」,而得此名。 有一年,日本海盜漂流到這裡來,指著矗立港口的一座山,問此處何地?人家告訴他們是打鼓山。他們郤將「打鼓山」唸走音成了高砂(TAKASAGO),因之 江戶時代,日本人稱台灣為「高砂」。

明鄭時期(1660 年代),鄭成功部隊曾在「打狗」設置營鎮多處,如前鎮、左營等。從此漢人入墾漸多,使原住民馬卡道族人不得不棄地他遷。

1860 年,依天津條約開放淡水、安平為通商口岸,而打狗當時是安平的附屬港,也跟著對外國開放,「打狗」從此漸漸地繁榮起來。1866 年,英國更派員設領事館於港口山頭,「打狗」乃初具國際港的雛形。當時打狗市區僅侷限於港口、旗後兩岸,及哨船頭的一端,其餘都還是鹽田澤國。以後壁港 (今大水溝)為界,北稱鹽埕埔,南稱鹽埔,而今,高雄市仍保有鹽埕這個歷史色彩、地方特色的名稱。

高雄市「建市」始於1924 年 12 月,並同時成立「高雄港務所」,幾十年的建設,高雄市和基隆市並稱為台灣南北兩大港,今天高雄市是台灣第二大都市,且為第一大港。高雄「市中心」是新興的 「都會區」,因此古蹟並不多見,要尋覓「歷史軌跡」,則必需到市郊左營,因為有清一代的鳳山縣治設在此處,有名的「左營舊城」即是台灣第一座正式的城池。
高雄港八景是:旗山夕照、埕埔曉鷺、猿峰夜雨、戌樓秋月、江港歸帆、鼓灣濤聲、苓湖晴嵐、江村漁歌。今日已是工商重鎮的這個南台大都會,此八景恐將一一成了明日黃花。

-------莊永明先生著《台灣紀事(上)(下)》一書(時報出版社出版),2006,頁732-33








日期:1928/7/1
林是好因先生抗日,被迫辭退教職
月夜愁思訴衷曲
林是好在台南市第二幼稚園擔任「保姆」工作,達 7 年之久,1928 年 6 月 27 日,園長突然勸告她辦理辭職手續,林是好甚覺莫名其妙,追問原因,所得的答覆竟是:「因為妳的先生盧丙丁,思想過激,擔任台灣民眾黨幹部,從事台灣社會運 動的緣故,台南市警察當局及市役所(市政府)很不喜歡妳在幼稚園工作,恐怕會影響兒童。」

林是好以「勤務 7 年之久,未曾懶惰任事,或者有不法之事」拒絕寫辭職書,29 日,田中督學請她到「市役所」,當面強迫她自動提出辭呈,並且以如不提出辭職書,取消 7 年服務的獎金威脅,林是好還是毅然拒絕。

1928 年今日,林是好接到「市役所」6 月 30 日所發出的「任期屆滿,不再續聘」通知書,而被迫辭退。台南市民雖對此「未開化時代的連坐法」,為她抱屈,但也莫可奈何。

林是好,日據時期的姓名為「林氏好」,台南市人,1907 年出生,畢業於台南女子公學校,後進教員養成講習所;她跟台南神學院英籍吳牧師娘及義大利籍聲樂家莎樂可莉學習鋼琴、聲樂,音樂造詣頗佳;後更東渡日本,求教於聲樂家關屋敏子,藝能大進。

台灣流行歌曲萌芽時期,林是好以具有西洋聲樂基礎的「身份」,毅然投效流行歌壇,對當代流行歌曲水準的提升,貢獻不少。 「望春風」、「雨夜花」主唱人純純,即是她所訓練的歌星。由馬偕博士採譜的平埔族歌謠,後由鄧雨賢編曲、周添旺填詞的「月夜愁」,即是她的首唱,而風靡全 台。

林是好在台灣音樂風氣未開的時期,即曾舉辦多場獨唱發表會,她和屏東地區鄭有忠所創辦的「有忠管弦樂團」合作甚久,在日據時期,該團是南部頗具規模的民間西洋樂團。

林是好身為一位抗日烈士的遺孀,她承續了她的先生那種熱忱、慷慨的風範,對社會公益事業,從不後人,59 歲那年,因罹患舌癌,而告退樂壇。

「月夜愁」這首由林是好主唱的 1933 年「老歌」,而今,年輕一代視這闕曲子為「失戀歌」,早已不了解主唱者當年心酸淚水,以及鐵蹄下的民族血淚。
-----

日期:1895/7/2
日軍因平埔族的騷擾,南下軍事行動受阻
平埔族的抗日事蹟

「原本計劃儘早佔領安平與打狗(高雄),因近衛師團遲到,未果。惟佔領新竹之後,其附近土匪自稱義民,出沒沿道山間,破 壞鐵路電線,或據於村落,妨害我軍,害苦良民,我軍要加以掃蕩,又有困難,致台北人心亦發生疑懼。故不得不改變計劃,為先行鞏固北部之安全,應向南部推進 之近衛師團,令其在山地登陸,一舉掃除賊巢,以除後患後,始向南推進。因此,即使在外交上將引起不便,因無法維持治安,始致如此局面,尚乞諒察。不久前請 求增兵,其原因亦在此,至於所謂土匪,係屬熟蕃,並非中國敗兵。」

這一封電報係負責「接收」台灣的樺山總督向伊藤博文伯爵所呈「軍事行動報告」,發文日期為 1895 年今日。

「妨害日軍」南進,而使征台部隊不克推進,未能依照日本政府照會英國政府出兵日期,以「保護」留居於安平、打狗的外國人,係出沒於新竹附近「熟番」的「騷擾」所致。從這一天的「電文」見之,「熟番」不僅在台灣開發史上具有重大意義,他們也在武裝抗日史上,佔上了「一頁」!

所 謂「熟番」,指的是平埔族,它是用以別於未歸化的各高山族「生番」而言;藍鼎元「粵中風聞台灣事」論:「其深居內山,未服教化者為生番……其雜居平地,遵 法服役者為熟番,相安耕鑿,與民無異;惟長髮、剪髮、穿耳、刺嘴、服飾之類有不同耳。」魯之裕:「台灣始末偶記」……「……何為生?不與漢群,不通吾言語 者也。何焉熟?漢番雜處,亦言我語者也。」從這些文獻中,可知平埔族是漢化了的原住民。

平埔族在漢族的「強勢文化」下,逐漸被同化,因此本身文化就雲消霧散了,然而今日,「台灣文化」如果溯源的話,其受平埔族文化的影響,也不可忽疏。

台灣的「老地名」,如雞籠、艋舺、巴浪泵、大甲、打貓、打狗;都是來自平埔族語,台灣話的「牽手」、「老蔥」、「麻撒末魚」也是;嚼檳榔的習慣,和平埔族也有關,還有台灣民間宗教信仰也有源自平埔族的地方。

「台灣抗日史」所記都是漢民和高山族「揭竿起義」的事蹟,平埔族的參與被略而不提,由於這封電文,我們可以知道保疆衛土,是「台灣住民」一致的行動。
----

日期:1924/7/3
「無力者大會」在台北、台中、台南召開
勝利歸於「無力者」
第五次「議會設置請願團」於「理由書」增加「台灣官 憲對請願人之壓迫」,在東京展開活動時,由大部分「御用紳士」所組織,「台灣公益會」為了表態,發表聲明:「一部分少數台灣人別有用心,……作種種運動及 宣傳,但此係多數台灣人所不與聞者。……」,譴責參予議會請願運動的人。

在辜顯榮、林熊徵斡旋下,「全島有力者大會」旋即成立,發表決議文:

「本 島一部分少數者,不滿足於台灣文化現狀,妄為空想所驅,每於帝國議會開會時,作台灣議會設置請願。其中一部分,藉口於請願,非議台灣之制度文物,以惑人 心。甚至有破禁而觸法者,彼等敢行如是之不純行為,不但為本島前途憂慮,實為吾人所最憾之處。茲開全島有力者大會,以明如是之盲動,非本島大多數之意見, 同時鑑於時之重大,期益自重,不背於正道也。」

這些「既得利益者」的謬論,惹火了「無力者」他們決定對「偽造民意,假公行私」的「有力 者」加以反撲。1924 年今日,「無力者大會」於台北、台中、台南三地同時召開,台中一地因有林獻堂、林幼春「占台」,情況更加熱烈,中部民眾高舉「無力者團結起來」、「有力者 快覺醒啊」等大旗,雲集參加。

「全島無力者」大會發表宣言書如次:

對政治法律,毫無理解,對人道正義,敢樹反逆 之旗幟,在廿世紀之紳士階級,此種腐敗分子,料應絕滅。不圖最近有辜某,用自私自利之魂膽,敢自稱為『有力者』,倡開大會,而欲反對最合理的最有秩序之運 動。辜某既往之歷史,世所周知,固不足深責,然若任其張牙舞爪,竊恐使一般人士,抱疑惑之念。故吾人為欲喚起全島兄弟之注意,不得不為相當之表示。

「無 力者」撲滅「有力者」的偽造輿論、蹂躪正義的舉動,大為成功,誠如 7 月 5 日「台灣新聞」之報導:「無力者大會確實是正正當當的集會,一點輕舉妄動都沒有,當局雖然加以極嚴厲的監視,但始終沒有中止和解散的機會可乘。老實說,這 次公益會神氣十足地裝著有力者的架子來挑戰,是最大的錯誤,勝利確是歸於無力者。
◎歷史台灣內容節錄自莊永明先生著《台灣紀事(上)(下)》一書(時報出版社出版),著作權屬莊永明先生所有,非經同意請勿任意轉載。



日期:1927/7/4
印刷工人罷工,為維生計,至淡水河參加築堤打工
印刷工人罷工事件
日本人所經營的「台北印刷株式會社」解雇員工從不預先通知,又沒有退職金制度,員工毫無保障;而且船橋某社長以前從事採礦業,對待員工如同礦工,公司忙時,強迫加夜班,沒有訂單時,就大批裁員,使約 100 人的職工,對工作有朝不保夕的感覺。

由於公司又要將 20 名員工辭退,大家深感不安,1927 年 5 月 20 日,員工開始商議如何謀求兩全的辦法,5 天後,大家聯合一致向公司提出二個條件,並將文件交給船橋社長:

一、公司要解雇員工,須在 2 個月前預先通知,不然要支給 2 個月份的薪水給員工。

二、職工自由退職或是被解雇的時候,要就其服務年資,最少給予二個月份的退職慰勞金。

公司對勞方的合理要求,不敢刁難,答應照辦;想不到在 6 月 15 日,公司的態度轉變了,表示此事必得提交「組合總會」承認,才能夠與勞方正式簽約。員工大失所望,再行交涉又不得要領,於是決定 16 日開始罷工,公司終告屈服,答應所求。

「台印社」社長橋船某以身為「台北印刷製本同盟組合」組合長,藉口這種片面做法,恐怕會違背同盟組合規則,於是召開組合會議,就「台印社」從業員所提退職及解雇給付辦法,加以商討,決議結果,做了很不利於勞方的條文修訂,而且要將公休日予以廢除。

由於這項資方自己所頒訂不合理的修正,硬要印刷界從業員一併遵行,引起了印刷工人大譁,提出嚴重抗議,但是資方堅持不做任何讓步,於是大家決議自 7 月 2 日起實行總罷工。本是「台印社」的單一事件,而竟擴大成整個印刷業的勞資雙方爭議事件。

少部分業主不願捲入這場糾紛,而聲明退出同盟組合,承認原先勞方所要求的條件,且不廢止公休日,如「三協社」、「台南新報活版所」等是。

1927 年今日,一些印刷從業員為避免生活發生困難,來到「艋舺練兵場」的淡水河岸,向「三協商會」表示願參加築堤工作,搬運沙土,主事者十分同情這些印刷工人的 處境,除了表示歡迎他們加入行列外,還表示不論人員多少,都要聘顧,台車沙石搬運工資,也由 12 錢提升到 15 錢,於是有 200 多人齊到河岸參加工作,另有一些人則去販賣蔬菜、什貨,暫渡生計,以進行和資方的持續爭執。
-----
日期:1972/7/5
黃朝琴(1897–1972)逝
台灣觀光旅館業先驅者
台北市改制前第一任市長、台灣省參議會議長、臨時省議會及省議會議長黃朝琴於 1972 年今日病逝,享年 76 歲。

黃朝琴是台南縣鹽水鎮人,出生於 1897 年 10 月 25 日,祖籍福建省泉州府南安縣,乃祖來台經營糖廓,凡歷三代。他年少時,放浪不羈,是一位紈褲子弟,經常流連花街柳巷,經他孀居的母親苦苦相勸,才痛改前非,負笈日本早稻田大學,研讀政治經濟科。

旅 日期間,黃朝琴在 1923 年正月號,及二月號的「台灣」雜誌發表了「漢文改革論」,他說:「最悲觀的就是漢字。」因為漢字形體難寫難認,對普及教育影響甚大,又說:「台灣的 360 萬同胞,於社會上所通用的文字,……用漢文的仍然佔大多數,若長久不快將這個漢字,改做言文一致的形式,我想現時未受教育的兄弟,絕無接觸智識的機會。」 他立訂躬行實踐的方法是:一、在東京數年,對同胞不肯寫日本文;二、寫信全部改用白話文,不拘古法,不怕人笑;三、時常用白話發表自己的議論;四、願當白 話文講習會的教員。

早稻田大學畢業後,又赴美國伊利諾大學,專攻國際公學,獲政治學碩士學位。北伐成功,南京國民政府成立後,他即跑到南京,進外交部當科員,「滿洲事變」後升任日本科科長,繼調部長秘書,歷任舊金山、仰光、加爾各答總領事,及外交部情報司副司長。

由 於長時間離台,他的母親以為他業已失蹤,戰後,他以外交部特派員身份回台,全家才得團聚。以後他在仕途一直稱心如意,首先接長被盟軍飛機炸得處處瓦礫、遍 地窟洞的台北市市長,不久即領導省議會,並擔任第一商業銀行董事長,長達 25 年之久;在政壇上被視為「半山大家長」。

1963 年,他辭卸議長職務。鑒於台灣觀光事業的勃興,全力投入旅館業,以其所住花園房屋,召募股東,蓋造當時唯一能和圓山大飯店抗衡的國賓大飯店。他曾告誡其家 人說:「如無錢支付國賓帳單,就不要住進去,也不要在內飯食,更不能利用飯店的交通和洗衣等服務。」台灣民間大型國際觀光旅館今日如雨後春筍,實賴黃朝琴 創導之功。
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日期:1905/7/6
在1885 年創刊的《台灣府城教會報》獲台灣總督府發給許可證
百年的「大眾傳播工具」
基督教會人士所稱的「台灣第一份大眾傳播工具」──《台灣府城教會報》於 1885 年 7 月12 日發行創刊號,文字係採用「白話字」,因為教會人士認為欲推廣民眾了解聖經,「白話字」拼音是最便捷的「工具」。

1905 年(光緒 31 年)5 月,《台灣府城會報》易名為《台南教會報》,同年今日,「台灣總督府」始予這份發行了近 20 年的「大眾傳播工具」發行許可證。

《台灣府城教會報》係由英籍巴克禮牧師所創辦,它是由台灣第一所新式印刷廠「聚珍堂」所印刷,1926 年,五百期紀念特刊,巴克禮牧師曾撰文期許《教會公報》:

「創 刊當時,在中國大陸另有好幾種教會刊物,但是那些刊物現在大部分都停刊了,所以目前所出版的好幾千種報刊雜誌中,我們的教會公報的歷史最悠久。我們應感謝 上帝,祂保護我們的刊物於四十多年當中每月都能按期發刊……現在盼我們的教會公報有更多的讀者與投稿者,同時盼望大家提供經營方面的高見,使其發行越來越 廣,內容更加充實而有益於讀者。」

1928 年,《台南教會報》與北部中會《芥菜子報》合刊,成為《台灣教會報》,1932 年又先後與《台灣教會報》(台南教士會發行)、《教會新報》(高雄中會發行)、《福音報》(台中中會發行)等合刊,稱為《台灣教會公報》。1941 年,日閥下令《台灣教會公報》停刊,報社因而關閉,光復後,教會人士乃重整旗鼓,乃得於 1945 年續刊,1985 年這份「報紙」慶祝創刊 100 週年紀念。

《台灣教會公報》發行最主要的目的,誠如巴克禮牧師所說:「……報導教會消息,給眾信徒週知,藉此使大家同心協力共同為主服 務。……使閱讀者更明白聖經的教訓。」畢竟「公報」是基督徒們的「主內報紙」,雖然近年來,他們也發表了關懷政局、關心民瘼的文章,但以其「發行網」來 看,是否能稱「大眾傳播工具」,恐怕有人要存疑了。
◎歷史台灣內容節錄自莊永明先生著《台灣紀事(上)(下)》一書(時報出版社出版),著作權屬莊永明先生所有,非經同意請勿任意轉載。  -----

日期:1953/7/7
黃清淵(1881–1953)逝
不為「出版法」所屈的抗日文人
以「描寫支那(中國)觀感」,撰成觀光詩文「閩粵吟 草」的黃清淵,平日致力灌輸鄉人民族意識,日閥早有繩之以「法」而後快的想法,因此日本刑警藉其油印「閩粵吟草」分送親友,告發他違反出版規則,經台南地 方法院宣判有罪。黃清淵不服上訴,經高等法院覆審,以「本件上訴屬有理由」,改判無罪,判決書如次:

 ----

日期:1917/7/8
陳夏雨生
離群索居的雕塑家1930 年雕塑家黃土水病逝,台灣「新雕塑」令人有薪盡之感。這一年,一位剛入淡江中學的 14 歲學生開始摸索攝影,竟「玩」得入迷,而興赴日進入「寫真(攝影)學校」的意念;想不到 17 歲抵日後,卻只能在一家照相館充學徒,雄心未展,悻悻然返台,正為困惑於如何在藝壇闖出一條門路時,他為一尊「頭像」雕塑所懾住了,那是日本名雕塑家堀進 二所製作的其外公栩栩如生的銅像,他認為「有為者,亦若是」,做一位雕塑家的決志,由此而生;堅定的意志,陳夏雨他成功了,台灣「新雕塑」終得「火傳」, 誠如王白淵所說:「陳氏的雕塑,根據其正確的寫實主義,表現種種內心的理想,在本省雕刻界,只有他可以繼黃土水之遺志。」

陳夏雨於 1917 年今日,出生於台中縣龍井鄉。自幼沉迷於繪畫,小時候他的肖像畫,在閭里即有「聲名」。他初跨入雕塑的門檻時,都是自我摸索,但成績不惡,畫家陳慧坤認為 此「材」可雕,乃推薦他拜訪前東京美術學校雕塑教授水谷鐵,水谷收他為門徒,一年下來,他已紮實了雕塑寫實技法。為求意境的突破,20 歲轉入藤井浩祐的工作室,繼續研究。

1938 年,22 歲的陳夏雨以「裸婦」入選「帝展」(即新文展),成為留日台籍學生入選「帝展」最年輕的一位,18 年前黃水土躋身「帝展」的那年後,是 25 歲,何況陳夏雨還是「非學院」出身的。以後他繼以「髮」(1939 年)、「浴後」(1940 年)三度榮登「帝展」,25 歲即獲得「帝展」的「無鑑查」(免審查)資格。

第 7 屆「台陽展」增設雕刻部,即邀他與蒲添生入會。光復初,一度受聘於台中師範學校擔任教職,然半年後,即辭職而去,以一位「職業雕塑家」身份營生。

個性率直、執著、不阿,且具「藝術家」氣質的陳夏雨,難以適應現實社會,當他發覺這個社會與他格格不入時,只得以工作去釋悶,最後乾脆離群索居,與「世」隔絕,藝評家都無法為其「畫像」,而使他成為 30 年來台灣藝壇謎樣的人物。

1979 年台中建府 90 週年,應「台中市文化基金會」力邀,63 歲的陳夏雨方答應復出舉行生平第一次的個展,因之才得「重回」台灣近代美術史。


◎歷史台灣內容節錄自莊永明先生著《台灣紀事(上)(下)》一書(時報出版社出版),著作權屬莊永明先生所有,非經同意請勿任意轉載。












日期:1895/7/22
李騰嶽(1895–1975)生


「紅樓夢」的診治醫生


以「吾人可以從當時醫師與一般人對於某種病的看法與所抱的態度,從事疾病的研究之精神」,而對「戚本」紅樓夢人物,做「病理診斷研究之對象」,寫下膾炙人口的「紅樓夢醫事考察」之大稻埕兒科名醫李騰嶽,於 1895 年今日(光緒 21 年 6 月 1 日)生。

李 騰嶽,號鷺村,筆名夢癡、夢星,生於淡水廳和尚洲大有莊(今台北縣蘆洲鄉)。12 歲隨兄卜居大稻埕,從劍樓夫子趙一山讀書,13 歲入大稻埕公學校。1912 年考進台灣總督府醫學校,五年後畢業,進「總督府台北醫院」小兒科實習。1919 年,於台北開設宏仁小兒科醫院,懸壺濟世。

1926 年,李騰嶽插班改制的母校「台北醫學專門學校」四年級,次年以第 6 屆畢業生獲醫學士學位,還再接再勵,於 1933 年續進台北帝國大學(今台大)跟杜聰明研究藥理學,凡七載;著有醫學論文 15 篇。1940 年,以「台灣產諸種蛇毒對於含水炭素代謝之實驗研究」等六篇論文,向「日本京都帝國大學」提出審查,同年 3 月獲醫學博士。

李騰嶽是位 亦醫亦儒的人物,他執醫大稻埕三十餘載,醫名遠播,且為當代傑出文士,早年參加詩社,擊?吟詩,是為「星社」中堅;他對台灣歷史、民俗、民謠、諺語,亦深 有研究,分別於《民俗台灣》、《台灣醫界》、《台北文物》、《台灣文獻》等期刊,撰述此方面的著作,受人誦讀一時。

光復後,出任台灣省醫師公會常務理事外,還於「通志館」成立時,受聘顧問委員會簡任委員,「通志館」改組為「台灣省文獻 委員會」後,他歷任編纂、委員、副主任委員,1960 年 2 月,繼任主任委員,於台灣省通志稿的修成,貢獻甚多;1975 年 4 月 23 日仙逝,享壽八十有一。

李騰嶽於 1930 年代寫有「台北竹枝詞」,凡 48 句,寫盡當年台北興衰,今日非老台北人,當不能領會其「境」;錄二首:

建昌街廢南街微,代謝何曾有是非?
今日太平最殷盛,霓虹明滅耀珠璣。(註:太平指太平町,今延平北路。)

萬華稍遜稻江優,城內居然占上頭;
長有人情疏隔憾,三分誰使劃鴻溝。(註:城內,即今城中區,為日本盤據之地。)







台灣醫療史 : 以台大醫院為主軸 / 莊永明著

臺北市 : 遠流, 1998[民87] 初版

台灣百人傳 / 莊永明著


臺北市 : 時報文化, 2000-2001[民89-90] 初版


台灣歌謠交響詩 / 莊永明著


台北市 : 偉翔文化, [民94][2005]

韓石泉醫師的生命故事 : 愛人如己的醫界典範 / 莊永明著


台北市 : 遠流, 2005[民94] 二版



莊永明:《台灣雅言巧語》(臺北:時報文化,2004年)

莊永明:《台灣諺語淺釋》 第1-10集(台北:時報文化,1991年)






「台灣非武裝抗日」的啟蒙人梁啟超應林獻堂之邀來台灣訪問





林獻堂結識梁啟超是在一九一○年,當年他先至橫濱「新民叢報館」,專程拜訪未果, ... 說:「你們這一代受著胡適、陳獨秀的影響,我們這一輩則受梁啟超的影響最大」。




特價書(不再折扣)


台灣紀事(上/下))──台灣歷史上的今天



叢書系列:生活台灣

作者:莊永明

出版社:時報文化

出版日期:2006年












《台灣紀事──台灣歷史上的今天》是第一本以記日體方式,記載台灣三、四百年來可以記載,值得記 載,以及不能不記載之台灣人血汗和事蹟的劃歷史性鉅作「作者莊永明,曾以中國時報台灣第一專欄,介紹台灣首開記錄的人事物,而風靡讀者;他雖非歷史系、所 畢業,蒐集台灣史料圖片之多,卻為學者譽為「台灣第一」。







作 者 簡 介

莊永明

台北市大稻埕人。1942年出生;從事會計工作26年,業餘從 事台灣文史研究。著作有《台灣第一》、《台灣記事》上下冊、《台灣諺語淺釋》10冊、《台灣風情》、《台北老街》、《台灣歌謠追想曲》、《台灣名人小 札》、《台灣先聖先賢傳──韓石泉》、《傳唱台灣》、《島國顯影》、《呂泉生的音樂世界》、主講《台灣歌謠尋根》CD等。《台北老街》獲中國時報開卷版十 大好書;《台灣歌謠追想曲》獲1994年本土十大好書;《台灣歌謠尋根》獲1994年金鼎獎推薦優良唱片。



2012.7.20 二手書店買 台灣紀事(下) 這是莊永明 先生1989年的作品 所以現在應該可以大改進 譬如說張深切先生至少二天提到 張我軍的書選一中國版其實台北也有很多好版本 如純文學出版社和台北線政府的


套 書 目 錄








台灣紀事(上):台灣歷史上的今天


作者: 莊永明 譯者: 定價:600元


歷史是「走過的從前」。台灣每一個走過從前的「今天」,不僅創造了獨一無二的歷史並且留下智慧,等待於我們心中再生……。 頭頂台灣天,腳踩台灣地,您對台灣了解多少?您知道「台灣民主國」比中華民國更早誕生?您知道一九二三年台灣有過新、舊文學論戰?您知道台灣最早的政黨嗎?…… 如果住在台灣,卻不明白台灣的過去,您如何展望未來? 《台灣紀事──台灣歷史上的今天》是第一本以記日體方式,記載台灣三、四百年來可以記載,值得記載,以及不能不記載之台灣人血汗和事蹟的劃歷史性鉅作「作者莊永明,曾以中國時報台灣第...








台灣紀事(下):台灣歷史上的今天


作者: 莊永明 譯者: 定價:600元

1934年8月11日:琴韻歌聲揚鄉土

山崎豊子Yamasaki Toyoko

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日語原文山崎豊子
假名やまさき とよこ
平文式羅馬字Yamasaki Toyoko

山崎豐子(本名杉本豐子,1924年11月3日-2013年9月29日)是一位日本作家、小說家,出生於大阪市;她的作品多數已被改編為電視劇電影

生平[編輯]

山崎豐子畢業於京都女子專門學校(現在的京都女子大學國文系,後來在每日新聞學藝部擔任記者,利用閒暇之餘寫作。
1957年發表首部作品《暖簾》,翌年即以《花暖簾》贏得1958年第39屆直木賞。1963年起在《Sunday每日》連載《白色巨塔》,引起轟動;1970年起又於《週刊新潮》連載小說《華麗一族》。
山崎豐子於1991年獲得第39屆菊池寬賞。她於創作《大地之子》時曾考慮退休[1][2]
山崎豐子於2013年9月29日去世,享壽88歲[3]

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文壇大師山崎豐子堪稱日本的文學良心,她發揮多年記者訓練所培養出來的敏銳觀察力與鍥而不捨的採訪精神,帶領讀者深入社會現實的真相,批判權力和體制對於人性的壓迫,每每震撼人心,更發人深省。

為了紀念大師逝世2週年,皇冠文化集團特別推出大師的最後遺作《約定之海》,並廣邀所有喜歡山崎豐子作品的讀者,透過文字與我們一同緬懷這位永遠的一代大師。

活動方式:請以「紀念山崎豐子」為主題,發表你的感言,可直接在本活動頁面下留言,或是發表在你的個人臉書動態上皆可,留言請設定公開(不然你的留言我們會看不到喔),所有紀念文文末須加入關鍵字:#紀念山崎豐子

活動時間:
●留言時間:即日起至9月15日(週二)24:00截止。
●得獎公布:由皇冠編輯群評選,得獎名單將於9月23日前在本活動頁面與皇冠Facebook粉絲專頁上公布,請參加者務必於得獎名單公布期間密切注意粉絲團訊息。

活動贈品:皇冠文化集團所出版之山崎豐子全套作品共20冊(包含《約定之海》平裝典藏版),價值近7000元,由皇冠編輯群選出最佳留言者,共計3名。

注意事項:
1.主辦單位會於本活動頁面與皇冠Facebook粉絲專頁上公布得獎名單,請得獎人務必回覆個人寄送資料。如主辦單位在9/30(週三)前無法聯絡確認寄送資料,即視同得獎人自動放棄獎品,不再予以補寄。獎品預計將於10/7(週三)前統一寄出。
2.獎品寄送以台、澎、金、馬地區為限,若得獎者居住於海外,請提供國內代領者的連絡方式。
3.所有參加者留言之文字均須同意無償授權皇冠文化集團使用於《約定之海》一書相關之行銷宣傳上,皇冠文化集團並得自行節錄、增刪、修改,無須再另行徵求同意和給酬。
4.參加者所發表之文字內容嚴禁抄襲、盜用他人作品,且所有法律責任均由參加者自行承擔,概與主辦單位無關。如有違法或侵權之虞時,主辦單位有權逕予刪除留言,並取消得獎資格。
5.參加者一經報名完成後,即視同同意並接受本活動辦法之各項規定。
6.主辦單位擁有解釋和修改本活動辦法的權利。

作品列表[編輯]

長篇小說[編輯]

發行日期中文名稱日文名稱出版社(日本/台灣)
1957年暖簾暖簾東京創元社出版/麥田出版
1958年花暖簾花のれん中央公論社出版/麥田出版
1959年-1960年少爺ぼんち新潮社出版/皇冠文化
1961年女人的勳章女の勲章中央公論社出版/麥田出版
1963年女系家族女系家族文藝春秋出版/麥田出版
1964年花紋花紋中央公論社出版/皇冠文化
1965年、1969年白色巨塔白い巨塔新潮社出版/商周出版、麥田出版
1967年偽裝集團仮裝集団文藝春秋出版/皇冠文化
1973年華麗一族(台灣譯名)
浮華世家(中國譯名)
華麗なる一族新潮社出版/皇冠文化
1976年、1978年不毛地帶不毛地帯新潮社出版/皇冠文化
1983年兩個祖國二つの祖國新潮社出版/皇冠文化
1991年大地之子大地の子文藝春秋出版/麥田出版
1999年不沉的太陽沈まぬ太陽新潮社出版/皇冠文化
2009年命運之人運命の人文藝春秋出版/皇冠文化
2014年約束之海約束の海新潮社/皇冠文化

中、短篇集[編輯]

發行日期中文名稱日文名稱收錄作品出版社
1959年小氣鬼しぶちん船場痴
訃聞
嫁妝
小氣鬼
遺物
中央公論社出版/皇冠文化
1993年倉田先生ムッシュ・クラタムッシュ・クラタ
晴著
へんねし
醜男
新潮社出版

隨筆[編輯]

發行日期中文名稱日文名稱出版社(日本/台灣)
1996年『大地之子』與我『大地の子』と私文藝春秋出版
2009年作家的使命.我的戰後作家の使命 私の戦後新潮社出版/天下雜誌
2009年我的創作.我的大阪大阪づくし私の産聲新潮社出版/天下雜誌
2009年再也沒有比小說更有趣的了小説ほど面白いものはない新潮社出版/天下雜誌

SAVAGE REPRISALS : Bleak House, Madame Bovary, Buddenbrooks by Peter Gay

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Thomas Mann died 60 years ago today.

Everyman's Library 的相片。


Thomas Mann died in Zürich, Switzerland on this day in 1955 (aged 80).

“Death was a blessing, so great, so deep that we can fathom it only at those moments, like this one now, when we are reprieved from it. It was the return home from long, unspeakably painful wanderings, the correction of a great error, the loosening of tormenting chains, the removal of barriers---it set a horrible accident to rights again.”
― Thomas Mann, Buddenbrooks: The Decline of a Family


Buddenbrooks, first published in Germany in 1901, when Mann was only twenty-six, has become a classic of modern literature. It is the story of four generations of a wealthy bourgeois family in northern Germany facing the advent of modernity; in an uncertain new world, the family’s bonds and traditions begin to disintegrate. As Mann charts the Buddenbrooks’ decline from prosperity to bankruptcy, from moral and psychic soundness to sickly piety, artistic decadence, and madness, he ushers the reader into a world of stunning vitality, pieced together from births and funerals, weddings and divorces, recipes, gossip, and earthy humor. In its immensity of scope, richness of detail, and fullness of humanity, buddenbrooks surpasses all other modern family chronicles. With remarkable fidelity to the original German text, this superb translation emphasizes the magnificent scale of Mann’s achievement in this riveting, tragic novel. With an introduction by T. J. Reed, and translated by John E. Woods.


2005
初讀《歷史學家的三堂小說課》
【談小說的書由學外文的來翻譯就一定比較好嗎?以《歷史學家的三堂小說課》為例。】

[
原書名:SAVAGE REPRISALS : Bleak House, Madame Bovary, Buddenbrooksby Gay, Peter]
台灣版:彼得‧蓋伊/《歷史學家的三堂小說課》(Savage Reprisals: Bleak House, Ma dame Bovary, Buddenbrooks 2002))劉森堯譯,台北:立緒,2004
日本版:小説から歴史へディケンズ、フロベール、トーマス・マン
金子 幸男【訳】,東京:岩波書店 (2004-09-28出版)
-------
台灣版和日本版都未將原書名:SAVAGE REPRISALS翻譯出來,也沒解釋原題目之意思其實在第一、二、三章之內文都舉出各作家之「怒」之創作之「報復」意圖。介紹文中談到「細緻之報復」,可是不敢用,所以各取書名之別名。這方面,日本較老實,台灣版花招---如果硬要讓Peter Gay說教,實際五堂「課」,因為「序曲」和「結語」都自成一「課」。還有未翻譯的參考資料來源和索引。
彼得‧蓋伊的著作都值得一讀。不過劉森堯先生的譯文雖然通順,有問題的可能百處以上。(我是在http://www.amazon.com/gp/reader/0393325091/002-7097857-0210450?
)讀和用字search-inside--尤其「序曲」和「結語」問題可能特別多,因為它們牽涉到「歷史-科學-哲學……」等學問。台北立緒出版社的翻譯品質很不穩定,因人而異。
我舉些有問題之例子:篇章名翻譯就有問題。
日本沒問題:
1章 怒れるアナーキスト『荒涼館』におけるチャールズ・ディケンズ
2章 恐怖症に挑む解剖学者『ボヴァリー夫人』におけるギュスターヴ・フロベール
3章 反抗的な名門市民『ブッデンブローク家の人』におけるトーマス・マン
台灣本副標題分別為:
狄更斯的《荒涼屋》、福樓拜的《包法利夫人》、湯馬斯曼的《布頓柏魯克世家》
用「的」翻譯「in」是錯誤的,因為原文為Charles Dickens in Bleak House 等等。
雖然改成類似『巴金在巴黎』的『狄更斯在《荒涼屋》』有點奇,但是習慣就好,因為大作家們作品多,其時間之跨度長,投入每部作品的「心」「力」都可能不同….
-----
翻譯為免加注結果弄成另外意思
「從柏拉圖的時代以至十九世紀初瑞士的教育改革者斐…….的時代」其中 educators漏掉,意思差很多(p.13
"... the Victorians; it had been no news to the ancient Greeks and to educators in the centuries from Plato to Pestalozzi. A hundred years before Freud made a theory of it, Wordsworth had famously proclaimed that the Child is father of ..."
---
34頁:「這其中最精彩的莫過於對於柯魯克突然暴斃的描寫,這是一個畏瑣而卑鄙的專收破爛的小商人,有一天他突然倒斃在他的那堆破爛當中,這個特別的死亡方式未必能夠贏得讀者一掬同情之淚……」(. But none of these can rival the sudden exit of Krook, the coarse, mean- spirited owner of a wretched junkshop, who shuffles off his mortal coil by collapsing into dust. This particular death did not play on the reading public's love of a good cry but on its credulousness. Krook's end, Dickens expected his vast readership to believe, was."
我自己學了英文: shuffles off his mortal coil 典出『哈姆雷特』,表示一命嗚呼。
對於將coarse, mean- spirited owner of a wretched junkshop翻譯成「一個畏瑣而卑鄙的專收破爛的小商人」不滿意。Junkshop日文解釋「(安物の)古物商」,不知道是否真為「破爛的東西」,其修飾詞 wretched翻譯成什麼?Krook是否真的死在破爛中(這是原文沒的)?
對於coarse mean-spirited 的翻譯也不解?
「未必能夠贏得讀者一掬同情之淚」?
------
翻譯經常不理會原文的句號,將數句聯成一句。
許多名詞完全直譯、不加注,可能讓讀者不知所云。譬如說,第36頁的heart of hold Newgate novel(「新門小說」)【案:我印象中這是監獄之所在】。
---
以下關於paradigm shifts之句有數處錯:翻譯成「他的圖例變動理論曾被相對論者評為不適」(p.207
Even Thomas Kuhn, probably the twentieth century's most influential historian and philosopher of science, whose brave talk of paradigm shifts has been misappropriated by relativists, maintained that the external world is real, neither constructed nor invented.
其他哲學術語如什麼「理想主義」(案:通常稱為「唯心觀」? p.205
----
They have nothing in common except their severity with the devotees of Clio. The first holds that novelists and poets reach higher-which is to say deeper-truths, truths that historians, pedestrian, document- ridden fact grubbers that they are, can never even approach.
翻譯:「這兩個方法除了一樣對史詩與歷史女神克萊歐特別熱衷之外,並無共同之處……….」【p.206
「史詩」不之來自何處?「特別熱衷」應為「特別熱衷者(們)」(devotees);原文severities with (嚴厲待之)漏譯…….
----
漏譯:multiplep.210
The delightful stories a historian can tell, in Simon Schama's words, "dissolve the certainty of events into the multiple possibilities of alternative narrations." Such cheerfulness runs counter to the ..."
誤會:不知道為什麼"Objectivity is not neutrality."翻譯為「客關性並不等於公正性」(p.215
The American historian Thomas L. Haskell has put it trenchantly: "Objectivity is not neutrality." In fact, in the right hands, a certain way of looking ..."
翻譯成:「一般人會發生的對於一場戰役的錯誤觀念」(p.217
Fabrice erring about the battlefield of Waterloo in Stendhal's La Chartreuse de Parme unfolds a confusing, almost incomprehensible scene of battle, typical of most battles; but it is through Fabrice's consciousness that ..."
----
母親的妹妹
人名不全譯
112
on Page 88:
"... about the remedies that might serve him best. And his inner sparring points to what the celebrated French neurologist jean-Martin Charcot once called, in Freud's hearing, la chosegénitale, that most potent of all causes. Certainly, for Flaubert, the genital thing was ..."
on Page 83:
"... was doomed to live in despicable times. His letters, early and late, abounded in snide references to French culture when he was a schoolboy, and as a seasoned nov- elist he did not revise his opinion. He hated what he called in 1855, in a letter to his intimate ... Nor did he see much room for improvement. "I deny the literary renaissance you proclaim," he wrote to Maxime du Camp ... everywhere directed against poetry, against pure Art, the complete denial of the True gives me an appetite for suicide." When a more cheerful mood was upon him, which was rare, he ..."


紐約時報書評

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


Quo Vadis By Henryk Sienkiewicz

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Quo vadis for the Quatuor Ebene String Quartet?
The DW-WORLD Article
http://newsletter.dw-world.de/re?l=ew2refI44va89pI3

Quo Vadis? Travel as Education and the Impact


Quo Vadis (基督教名言。意思是"你往何處去?"),是一本著名小說, 漢譯版本多 。從1925/51/85各有改編電影。

譬如說 Quo Vadis Canis? : The Future of Dogs and Mankind -- Paperback by Fleig,

Quo Vadis, Google?
Earthtimes.org - USA
The past week has seen Google foray into as yet uncharted waters. With the announcement of a personalized home page, Google has ...



  1. Quo Vadis
    Novel by Henryk Sienkiewicz
  2. 4.1/5·Goodreads
  3. Quo Vadis: A Narrative of the Time of Nero, commonly known as Quo Vadis, is an historical novel written by Henryk Sienkiewicz in Polish. Wikipedia
  4. Published1895
  5. GenresHistorical fiction
  6. AdaptationsQuo Vadis (1951), Quo Vadis (2001), Quo Vadis? (1985)
 

Quo Vadis (novel) - Wikipedia, the free encyclopedia

https://en.wikipedia.org/wiki/Quo_Vadis_(novel)

Quo Vadis: A Narrative of the Time of Nero, commonly known as Quo Vadis, is an historical novel written by Henryk Sienkiewicz in Polish. "Quo vadis Domine" is  ...




中國20世紀末,幾乎出版Henryk Sienkiewicz的文集或全集。



摘錄
翻譯偵探事務所這本原著Quo Vadis是得過諾貝爾獎的波蘭作家顯克維支(Henrya Sienkiewica, 1846-1916)所寫的,但內容與波蘭無關,而是寫羅馬時期有名的暴君尼祿迫害基督徒的故事,關鍵詞是尼祿。尼祿在基督教盛行的西方文化中,長期以來就是「暴君」的代名詞,但近來也有不少史家為他翻案,說他其實是重視文化的藝術家,而且治理時期人民安樂,羅馬大火時他並不在城內,並非是他放火尋歡等等。不過顯克維支這本小說寫於十九世紀,當然還是很正宗基督教的說法,書名來自於羅馬大火之後,使徒彼得在逃難路線上遇到耶穌(不過只有他看得到),他就問主“Quo Vadis?” 耶穌說既然你背棄基督教弟兄自顧自逃生,那我就回羅馬去。彼得隨即悔悟,掉頭回到羅馬城,最後被尼祿倒釘十字架而殉道。
“QuoVadis?” 從第一個中譯本就譯做「你往何處去」,但從上下文看來,這句話是對主耶穌說的,譯成「你」好像有點沒禮貌。日文版沒有主詞,好像比較沒有禮貌問題。(第一個中譯本是喬曾劬和徐炳昶1921年根據法文版翻譯的,喬曾劬曾在戰後任教於台大中文系,後來返回大陸自盡身亡。這個版本在台灣有改名盜印紀錄,詳情請參考高漢娜的碩士論文。台灣各個全譯本或來自法譯,或英譯,或日譯,但尚無從波蘭文直譯的版本。)


馮光遠懷念余老先生;余紀忠一瞥;王作榮 的"壯志未酬"

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【回覆一名高雄朋友臉書上的書寫】

(編按:對於臉書上的批評,有些我不理會,有些我會說明,看我的時間,看心情,看人。這是一篇我樂意花時間寫的回覆)

Yen-Yu Liu
馮光遠到底是有多懷念那個報老闆同時是國民黨中常委、文工會下一張紙條就可以管中時編輯檯的威權時代?整天余老先生不離口的,幫他的一群人卻也同時老把「轉型正義」掛在嘴邊,真是挺妙。

【我的回應】

當一個人已然覺得自己可以對他人極其私密的情感說三道四的時候
我會好奇,是什麼樣的動機讓此人做這樣的發言?

我懷念余老先生,是基於我跟著他工作多年的情感
這種情感,無涉他的地位、成就,或者政治光譜裡的位置
我跟著老先生做事,學到許多,其中某些所學,讓我對人生,對創作,對待人處事,都有新的理解
對勇於憧憬一個更加公正、美好的台灣,也有所裨益
我與老先生之間的老少默契,妳何曾知曉
我感激老先生對我能力的信任,妳又哪裡可能感受得到

曾經有段時間,尊嚴一詞在台灣是奢侈品
我所知道的余老先生
總是盡他最大能力讓這奢侈品成為許多人生活裡理所當然的必備品

曾經有段時間,自由主義、左翼理論只是教科書上的鉛字集結
我所知道的余老先生
盡其所能,讓一些對這些章節感興趣的晚輩
無後顧之憂地在他的庇蔭下實踐他們所學

任何一個困頓的時代,物質的、精神的
人們始終還是必須為著生計憂煩
然而,有些人憂煩的不─只─生─計─而─已
可是其內容,也只有特定的人方才知曉
也許,多年之後在類似這樣的書寫裡
才終見一點一滴地披露

因此,劉小姐,當我看到妳上述文字的時候
我只想說
在臉書這種平台上
妳當然有權大辣辣地以妳的脈絡與理解
來論斷他人所作所為
他人如我,也許覺得不公平──尤其是提及余老先生部分
可是也正好利用同一平台
我可以在此補充妳那其實與我人生經驗毫無交集的推論

就醬


荷花池畔長談──懷一代報人余紀忠


2015年03月13日

然而,在社會運動狂飆的那些年,我們彷彿都得到一種政治狂熱症,以為只要靠群眾運動,就可以打破禁忌,突破封鎖,開啟社會變革的無限可能。那些年最常用的語言,叫「自力救濟」。即政府無能,百姓唯有靠民間自己的力量來改變命運。


一九八八年社會運動到達高峰,爆發了農民運動圍攻立法院、拆行政院招牌的五二○事件,農民運動隨後分裂為統獨二派,開始激進化。

隨後,工運延燒到了報社。中國時報與自立晚報相繼組織工會,展開工運。鄭村棋與吳永毅結合報社工會,要求讓工會參與報社編輯與經營,勞資雙方鬧得非常嚴重。


工會事件未開始,我曾被鄭村棋邀去工會某一個幹部家裡參與討論。但我並不認同工會要求報社開放編輯權的策略。原因有二:其一,編輯內容敏感,最後的政治責任要由報老闆承擔,萬一出錯關門(如美洲中時),工會誰能負責?


其二,中國時報在社會運動過程中,一直是站在弱勢者的一方,如今在報社搞工運,等於在自己家鬧革命,無疑會把中國時報推向保守對立的一面。當社會運動還弱小的時候,我們本應結合更多同情者,無論是主流媒體還是次要媒體,唯有如此才能慢慢壯大。如果一開始就把火燒回到報社本身,會失去一個開明派的助力,這對社會運動是不利的。


但情勢發展已無法逆轉,勞資雙方爭執之下,報社資遣記者,工會運動宣告失敗。而在衝突最嚴重的階段,余先生甚至曾拜託軍方的報紙,如果工會罷工,請《青年戰士報》幫忙印報。一個開明的報紙,最後要請最保守的軍方幫忙,言論如何不倒退呢?


預感到社會運動的倒退,我也已初步完成台灣社會力分析,寫完兩本書,遂決定趁著兩岸剛剛開放的時機,開始大陸的採訪。畢竟,決定台灣命運的關鍵:除了內部的社會脈動,最重要的還是外部的力量:大陸與美國。台灣有許多留美學生,資訊量大,了解較多;但大陸是一個全然陌生的領域。這是新一輪的課題。


從一九八八年冬天開始,我多次進入大陸採訪。一九八九年六四事件當天早晨,我和同事徐宗懋發完報社的號外稿件,一起在廣場採訪到清晨,學生和工人離開後,部隊開始清場,徐宗懋後來被子彈射傷,送去了醫院,生命非常危險。初步搶救後,余先生仍著急萬分,立即派香港特派記者到北京,緊急將宗懋送回台北治療。我是到了六月二十一日,整個北京大勢底定,進入沉寂狀態之後,才離開的。


(5)

*****

王作榮壯志未酬
台北: 天下文化 出 版 社 1999

謹 守著寫自傳的原則:「我寫出來的一定真實」,風骨凜然的當代知識份子典範王作榮,用五年時間,一字一句寫下八十年歲月的辛酸與夢想。全書五十萬字,除了寫 盡他一生的夢想與轉折,更以春秋之筆臧否多位當代重要關鍵人物,包括蔣中正、蔣經國、嚴家淦、李登輝四位總統,及尹仲容、王永慶、余紀忠等對台灣發展具決 定性影響的人物。充分彰顯著一位中國書生的風骨、一以貫之的使命感,


王作榮

一九一九年出生於湖北漢川縣西王家村。 一九四三年國立中央大學經濟學系畢業。一九四九年取得美國華盛頓州立大學文學碩士,並選修博士課程。一九五九年取得范登堡大學碩士學位,任職於行政院美援 會。一九五三年至一九八九年,擔任台灣大學教授;一九五四年至一九五六年,擔任東吳大學教授;一九六三年至一九七三年,擔任文化大學教授、主任、所長。 一九六四年開始擔任《中國時報》主筆,一九七八年開始擔任《工商時報》總主筆。一九八四年任考試委員,一九九○年任考選部長,一九九六年任監察院長,並於 一九九九年退休,潛心著述。 主要著作包括:《王作榮全集》十冊(時報出版),《壯志未酬》、《真話----談政客論國運》、《愛憎李登輝----戴國煇與王作榮對話錄》《也是沉淪與 提升》(以上四書皆於天下文化出版)。。


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這是一本有趣的作品 大部分的人都該深入思考其人其事(其志)...... 所以談台灣的前途之章很有意思 值得談

作者其實是有很強的外省人之人際網絡的支持的 (從另一方面說是得了便宜.......) 晚年到考選部改革的描述相當精彩試看(比較)近日一事 荒唐透頂的考試院必須關門可以知道本書主題: 制度/文官/司法 改革的不容易

他可以說有點自戀 (譬如說舉錢復說其主子窮搜其論說文章 此書與錢復回憶錄比起來有許多缺點 包括索引----錢的書中都沒提過王說的 對他重要的.....) 作者自以為了解治國之道 寫好政論就可治國 他對中共國力 (比起美國)和民主化等的認識 很可能都是高估的

它基本論點是蔣介石是中國的民族英雄 國民黨領3百萬撤退來台對台的建設很有功 (生產數據中唯一沒法解釋的是台灣的糖業一直無法突破日治期的高峰......安

晚年當酬庸之院長 80歲才退休 這樣"壯志未酬" 1999年出書至少印數萬本 馬英九很可能是他的同志 不過作者可能認為馬這一輩是差勁的一代 (比起他及其前代) 問題多多.....

由於此書多談"志 "所以很難具體檢驗 包括引李光耀對台海飛彈威脅的看法(這是李的中共觀的0.1%) 他的"約10年內中共即不耐而有所動作" (結果是反分裂法)

由於缺索引 我一時忘記作者在"軍售"這方面的見解
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莊永明〈杯底不可飼金魚〉「阿山」陳大禹和「阿海」呂泉生共同創作

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莊永明專文(下):杯酒泯仇 傳唱心曲
莊永明 2015年08月14日 05:50

杯底不可飼金魚是莊永明最愛唱的歌曲。(圖片來源: capn madd matt@flickr)


我最愛唱〈杯底不可飼金魚〉,曾戲言:女不唱〈望春風〉,男不唱〈杯底不可飼金魚〉,就不知道台灣歌謠的美……。然而這首歌的作詞者,卻有一段不能說的「祕辛」。


我不諱言自己五音不全,甚而以「狗聲乞食喉」形容我屢屢變調的歌聲,但是喜愛唱歌是事實;不少人建議我參加合唱團,我總是以歌喉不佳婉拒。多數朋友知道我拒絕去卡拉OK店唱歌,不過唯一破例,是台大醫院祕書室的同仁和醫師舉行歲暮同歡會,前院長祕書許元龍特別邀請我參加,希望我能為大家做曲目的解說——那一次,我終於走進了KTV(以後我對KTV還是卻步的)。



每個人都有幾首愛唱的歌,如果要特別挑選一首,我可以毫不猶疑的說:「我最愛唱〈杯底不可飼金魚〉。」這是一首另類的台語歌曲,高亢、豪邁是其特色。
最愛唱〈杯底不可飼金魚〉

〈杯底不可飼金魚〉為作曲人呂泉生於一九四九年所發表,並親自演唱。

有一年,呂泉生要拔牙齒前,特別由太太親自伴奏錄下這首歌,因為他害怕缺了齒,再唱會「漏風」;而且自覺年歲漸大,想要留下「原音」。他移民美國前,拷貝了一卷錄音帶送給我,並囑咐我不要借給別人轉錄,強調會因而變音。此份珍貴的禮物,可惜我未能妥善保存,因不知卡帶錄音會消磁,而一時疏忽造成失聲,令我扼腕,常以拂逆呂泉生的好意自責——還好他寫給我的每一封信,都保留得十分完好,總算稍微彌補了缺失。

被譽為「台灣合唱之父」的呂泉生。(維基百科)

不管誰來唱〈杯底不可飼金魚〉,呂泉生都相當在意。記得他曾說過,吳文修、張清郎未能唱出這首曲子的特質;陳榮貴的聲音,他覺得適切;其他如李安和、姜成濤等人的詮釋如何?我沒有聽呂泉生談論,可能是他沒有聽過。

我參加旅遊時,在遊覽車上如被點名表演,必選唱〈杯底不可飼金魚〉;我演講台語歌謠,說及一九四九年中華民國政府撤退來台的那一年,必定會提及〈杯底不可飼金魚〉。

這首曲子不能以飲酒歌等閒視之,我根據呂泉生的口述,以「族群融和」來解說從二二八事件到中央政府撤退來台一個音樂家的見證,道出這首曲子的內涵意義;詞句中的「情投意合上歡喜」、「朋友弟兄無議論」、「好漢剖腹來相見」,都有呼籲族群融和的意思——當年號稱百萬軍民大移民,聚居島上,能不「以酒釋懷」嗎?我除了詮釋其歷史意義和社會背景外,高歌此曲,是不可免的。
一段「祕辛」的發現

〈杯底不可飼金魚〉是台灣歌謠的經典之作,身世自然受人關注。無可置疑,六十幾年來,大家都公認呂泉生是作曲者也是作詞人,詞、曲由他一人包辦。而我之前也不例外,更強調首唱人也是他,第一次發表地點就在台北市中山堂。

二○一一年虎年農曆歲末,中山堂舉行同仁暮年會,當時李麗珠代主任以我多次參與提供中山堂古蹟活化的意見以及志工培訓,邀我參加暮年晚會,每位同仁都秀出看家本領助興、表演節目,而我則以來賓身分上場,「因地選歌」唱了〈杯底不可飼金魚〉,並說明六十二年前,這首歌就在中山堂首次發表——只是當年呂泉生是在一樓的中正廳表演,而我卻是在二樓光復廳唱它,倍感榮幸。

一九四九年,呂泉生第一次發表〈杯底不可飼金魚〉時,中華民國政府在大陸的政權已危危可殃,年底就撤退來台。二○一一年,我在同地點唱這首歌,雙方隔海分治,不再「兩岸一家親」,台灣仍以中華民國正統自居,慶祝「建國百年」。

〈杯底不可飼金魚〉的作詞者,課本與歌冊的記載有所不同,詞、曲都寫呂泉生的,為數不多;作詞者另有「田舍翁」、「居然」不同的紀錄。我曾好奇地問呂泉生:「為什麼會用不同的筆名?在其他編曲作品中所用的呂玲琅、明秋、羅仙……等筆名都用過多次,〈杯底不可飼金魚〉的「田舍翁」、「居然」卻僅用了一次?」呂泉生不做正面回應,以致我和其他人一樣,都認為詞曲全是他一人所作。

一九九九年,我在二手書局買了一疊光復初年的音樂節目單,顯然是一位愛樂人士收藏過,而且節目單還留有一些字句,表示每場音樂會都購票欣賞。其中一張台省音樂文化研究會的第二屆音樂會節目單,我看見了〈杯底不可飼金魚〉的首次公演紀錄,也發現了一段不為人知的「祕辛」。

這場音樂會於一九四九年四月十八日於台北市中山堂舉行,演出者全是當代的樂壇精英,聲樂之外,還有小提琴、鋼琴獨奏。第六個節目是男次高音呂泉生獨唱,鋼琴伴奏是「台灣第一位音樂家」張福興的兒子張彩湘——父子同為台北師範學院教授。

張福興與張彩湘父子。(客委會/台灣音樂群像資料庫)

這一場音樂會,呂泉生安排演唱兩首曲子:第一首是義大利寫實派作曲家雷昂卡發洛於一八九二年在米蘭歌劇院首演的歌劇《派格利阿西》(丑角,節目表作:「小丑」)的序詞,第二首才是〈閩南飲酒歌——杯底不可飼金魚〉。

「台省音樂文化研究會」僅舉辦二場音樂會,這是最後一次的演出,此後因白色恐怖影響,就沒有活動了。我翻閱這一張深具歷史性的節目單,想起了歌劇(丑角)男主角混合著喜怒哀樂俱有的情緒,揭幕時所唱的序歌:

供人喜笑作樂的丑角,穿著華麗的彩衣,他們是人,他們也有悽愴寂寞的故事,故事開始了!
杯酒泯仇,心結宜解

〈杯底不可飼金魚〉的作者,不論是「田舍翁」或「居然」,對呂泉生來說,應該都是不可承當之重,只好對作詞者不說清楚、講明白,甚而保持沉默,以免〈杯底不可飼金魚〉被列入「禁歌」名單。

然而〈杯底不可飼金魚〉的真相,終於解開了。在一九四九年首唱的節目單,我發現作詞人是陳大禹——這是長年以來不可說的祕密。但我有責任掀開這個謎,否則白色恐怖的「另一章」,必永遠沒有這一頁。

這個發現顛覆了我多年來的認知,驚愕不已,不知如何善後?我告訴「少年大」王昶雄,是否可以向呂泉生求證,「少年大」二話不說,贊同我追到底!於是,我打了長途電話到美國,向呂泉生求證陳大禹其人其事——他說陳先生是劇作家,兩人還是同事,這首閩南語飲酒歌是他提出「梗概」,以酒化解恨,再由陳大禹寫詞。

陳大禹,是何許人也?自是我所關心的。本想繼續追問,但是,我不忍多說,以免呂老師有不隱之痛,只好自己找資料。



陳大禹,漳州人,是所謂「阿山」(唐山人),他比中央政府遷台還早渡海,一九四六年夏天,他從重慶經上海來到台灣,從事戲劇腳本創作,是「實驗小劇團」的重要人物。他在台北短期失業後,即參加劇運,劇場生活不到七個月--一九四七年初,便發生了驚天動地的二二八事件。

呂泉生是二二八事件的重要見證人之一,當時他在台灣廣播電台(今台北二二八紀念館)上班。二二八事件引起民怨,一群抗議民眾前往台灣省行政長官公署(今行政院)抗議,不料遭機槍掃射,驚慌中逃離的人,轉往新公園(今二二八紀念公園),搶占電台,奪取麥克風,向全台廣播,要求對抗陳儀腐敗、專橫政權,還台灣人公道。

廣播訊息傳出,民眾騷動,積壓民怨如江河日下;二二八事件是偶發的,也是必然會發生。呂泉生曾保護電台的外省同事,因為他們在路上如果唱不出日本國歌,即被認定是「阿山」,會被毆打,因為大家把氣都往外省人身上堆,而三月初,從大陸調遣軍隊的無情殺戮,更添增慘劇加驟。

一九四七年十一月一日,為慶祝「台灣光復二週年」,陳大禹的實驗小劇團在台北市中山堂演出《香蕉香》,廣告以「事實在那裡?問題在那裡?請退到客觀地位」做訴求。二二八事件才發生八個多月,陳大禹編導以「願阿山、阿海是親熱有趣的稱呼」描繪阿山(外省人)和阿海(本省人)在台灣的「情結」。依陳大禹在《台灣新生報》發表的〈破車胎的劇運〉,他對製作《香蕉香》的說法「是打算溝通過去本省人與外省人的情感隔閡問題,事實上只是想說明一種語言不通、生活習慣不同,所引起性格上異同的誤會,而希望彼此能在愛的了解下把執偏拔掉。」《香蕉香》的劇情立意,可以說完全和〈杯底不可飼金魚〉相似,希望杯酒泯千仇!
音樂史上的懸案

陳大禹的《香蕉香》又名《阿山阿海》,是他的「台灣風景線」系列作品;以二二八事件做背景,顯見他並不認為省籍糾紛是政治問題。他作詞的〈杯底不可飼金魚〉是否為《香蕉香》而作,已難查考;而呂泉生譜曲前,雖有加入詞作的意見,但遣詞用字的細節,他未加說明。陳大禹的歌詞創作,到底有多少是呂泉生的意見?只好當「音樂史懸案」了。

陳大禹(百度)後來返回大陸工作/及邱坤良為他寫的傳記《漂流萬里》。

陳大禹和呂泉生「同年」,都是一九一六年出生。兩人相識應在台灣警備總部交響樂團轉型為台灣省政府教育廳交響樂團時——呂泉生是合唱隊隊長兼指揮;陳大禹是幹事,他們溝通的語言應是閩南話。

一九四九年,四六事件發生,當局派軍警逮捕台大、師院學生,同時整肅一些文人,陳大禹風聞自己被列入追緝名單,乃於四月中旬回歸大陸,避開禍患——而他出走的時候,正是呂泉生發表〈杯底不可飼金魚〉時。

〈杯底不可飼金魚〉首唱後一個月又二天的一九四九年五月二十日,台灣省政府、台灣省警備總司令部以「戒字第壹號」發布:「自本日零時起,全省開始實施戒嚴令。」風雨飄搖的這一年,我才小學一年級。

當年,呂泉生、王昶雄、巫永福等前輩,和我聊談二二八事件時,談了不少親朋受難受災的故事:「少年大」王昶雄於事變時,逃往台中清水,每天晝伏夜出,像是亡命之徒,他說有一天晚上,躲在屋內實在待不住了,夜深星稀時,走出來透氣,沒有想到撞見蓬頭垢面的張文環,兩人抱著痛哭,不發一語,又快速相互離去。當代以筆為言的文人,竟如驚弓之鳥,可見那個悲劇年代,人人都有朝不保夕之感。

我為呂泉生立傳,做了不少口述資料,但他從不提陳大禹此人;孫芝君所寫《呂泉生的音樂人生》,顯然也未對〈杯底不可飼金魚〉的作詞者有所揭露——畢竟陳大禹是個「黑名單」人物,他顯然有不能言的苦衷。

二○○六年七月,邱坤良將視為「神聖使命」的陳大禹傳記付梓,這本《漂流萬里──陳大禹》傳記,列為文建會「台灣戲劇館──資源戲劇作家叢書」之一。邱坤良多趟赴漳州找資料,終於將陳大禹的身世大白,功不可沒。我告訴他陳大禹是〈杯底不可飼金魚〉的作詞人時,他大為驚奇,但陳大禹逝於一九八五年,想求證這首閩南語飲酒歌的來龍去脈,已是「死無對證」了。

二二八事件的迷霧,有不少真相尚未解開,此不幸事件所留下的「音符」——〈杯底不可飼金魚〉,竟然是一首「阿山」陳大禹和「阿海」呂泉生共同創作的歌曲!我原先希望「將錯就錯」,以免之前說詞為人詬病,但是,歷史真相終需還原,相信呂泉生在天之靈,必也會同意我說出了他長年來不敢啟齒的「心結」——「結頭打昧開,心肝憂結結。」呂泉生晚年創作王昶雄作詞的〈結〉,必有所寄懷吧!

莊永明和他的新作《活!該如此:莊永明七十自述》

*作者為國內知名台灣文史專家,同時被公認為台灣民間史料收藏最博雜、豐富的研究者之一。一九七○年代崛起於文壇,陸續在報刊雜誌發表文章。著有《台灣第一》、《台灣紀事》、《台北老街》,到《台灣鳥瞰圖》、《台灣醫療史》以及三大本《台灣世紀回味》等五十餘本著作。其中台灣歌謠是他的最愛,出版有《台灣歌謠追想曲》、《台灣歌謠──我聽 我唱 我寫》,以及有聲書《台灣歌謠尋根》等。而作者最自傲的資歷為擔任「大稻埕逍遙遊」文史導覽長達十年之久,超過10,000人次跟著他一起上街走讀。其老家「莊協發柑仔店」已被列為台北市定古蹟,以策展、講座、老街導覽等方式,活化古蹟,推廣文史。

本文選自作者新著《活該如此:莊永明七十自述》(遠流出版)

Günter Grass《鐵皮鼓》

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(德國之聲中文網)德國的納粹過去這一主題伴隨著作家君特·格拉斯(Günter Grass)的一生。在他1959年的小說處女作《鐵皮鼓》(Die Blechtrommel)中,君特·格拉斯成為最早提出德國人對納粹罪責問題的人之一。 “人們曾裝作似乎是某個幽靈來誤導了可憐的德國民眾。而我從年輕時的觀察得知,並非如此。一切都發生在光天化日之下。” 君特·格拉斯出生於1927年,從戰俘營返鄉後,格拉斯先是作石刻學徒,後入大學學習藝術。50年代中期他也以作家的身份露面。 在巴黎生活的三年裡,格拉斯的手稿《鐵皮鼓》誕生。不單是其有關罪責的主題,還有其奇异怪誕的語言在50年代末都令人震驚。格拉斯成為德國文學界不容忽視的人物。 50年代中期起,格拉斯也成為頗具影響力的作家團體“47社”(Gruppe 47)的一員。他參與社會:無論是現實政治還是對納粹過去的反省,格拉斯都成為聯邦德國的道德典範。


1999年,格拉斯到達榮譽的頂峰:他因其生平成就贏得諾貝爾獎。 2006年,格拉斯在一部自傳作品中透露,自己過去不單是德國士兵,而且在1944年後也是黨衛軍成員。對於他這麼晚才公開這一信息的指責,格拉斯予以接受。 格拉斯不畏懼發出挑釁,直到老年仍是如此。2012年4月,他發表了一則對以色列持質疑態度的詩作,受到強烈的批評。 君特·格拉斯一生打破禁忌。他的逝世令德國失去了一位鬥士和最有影響力的聲音之一。他將作為一位不屈服的作家留在人們的記憶中:他的積極參與、反抗精神以及自身的爭議都對當今德國產生了影響。
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【《字花》第56期・造勢的人】
格拉斯的小說,尤其是《鐵皮鼓》,就影響深遠得多了。這是一部承先啟後之作:上承塞萬提斯(Miguel de Cervantes,1547-1616)和格里美蕭森(Hans Jakob Christoffel von Grimmelshausen,1621-1676)的流浪漢小說傳統,下開厄文(John Irving)和魯西廸(Salman Rushdie)等,崇拜者眾多,包括莫言。我們在《鐵皮鼓》中,就看到一個自私、醜陋的典型流浪漢角色,如何在一個沒有理性兼邪惡的世界,不求人生意義地活著。
//主角誕生的一幕,已清楚體現出格拉斯的「虛無主義」。通過這人物的眼睛,我們看到了納粹治下的芸芸眾生,市民紛紛穿上褐色制服,狂熱地崇拜權威;宗教向極權稱臣後,早已失去神聖的光環,但「信望愛」的歌聲依然響徹入雲。戰後經濟復甦,法西斯政治的文化遺物成了發財的企業──奧斯卡那個曾為納粹服務的鼓,戰後就成了他的賺錢工具──市民藉消費和享樂掩飾罪疚,假裝對政治漠不關心,只有在一個名為「洋蔥地窖」的酒館裏,客人切洋蔥辣出眼淚時,才能向別人吐露真情。小說由始至終,奧斯卡都處於一個抽離的位置,旁觀他人的痛苦,甚至於自己父母的死亡。不僅旁觀,更是參與,後來他厭惡一切,承認了自己沒有犯下的謀殺罪,被關進瘋人院。根據格拉斯所言,奧斯卡「是他所處時代的一面鏡子」,他「從不願長大的心態中產生的獸性、幼稚性以及犯罪」,就是那個時代的特徵。
「納粹」、「種族仇恨」、「被入侵」,這些字眼用來形容今天的香港,大概是太誇張了──抑或歷史會以各種可笑、荒誕的形式永劫回歸呢?但只要看看上面的小說撮要,我們或多或少都會有些共鳴吧。小說結尾,謀殺案水落石出,三十歲的奧斯卡將被釋放,放到哪裏去呢?有出口,却沒有出路。他想起一首令他害怕的童謠:「黑廚娘,你在嗎?在呀在呀!」//
(節錄,全文見今期《字花》)
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完整目錄 | http://fleursdeslettres.com/blog/?page_id=1173
《字花》第56期・現已出版
封面專題|真理之口
作家與a|韓麗珠,房子與洞穴
未來人誌|王証恒
字元客席編輯|黃燦然
未完成|董啟章《心》
造勢的人|格拉斯
※   ※   ※   ※
56期《字花》現於序言、樂文、田園、Kubrick、榆林、三聯、商務、中華、天地、Page One、誠品等書店有售。
字花的相片。



APRIL 13, 2015
The Greatness of Günter Grass
BY SALMAN RUSHDIE

CREDITPHOTOGRAPH BY RENE BURRI / MAGNUM

In 1982, when I was in Hamburg for the publication of the German translation of “Midnight’s Children,” I was asked by my publishers if I would like to meet Günter Grass. Well, obviously I wanted to, and so I was driven out to the village of Wewelsfleth, outside Hamburg, where Grass then lived. He had two houses in the village; he wrote and lived in one and used the other as an art studio. After a certain amount of early fencing—I was expected, as the younger writer, to make my genuflections, which, as it happened, I was happy to perform—he decided, all of a sudden, that I was acceptable, led me to a cabinet in which he stored his collection of antique glasses, and asked me to choose one. Then he got out a bottle of schnapps, and by the bottom of the bottle we were friends. At some later point, we lurched over to the art studio, and I was enchanted by the objects I saw there, all of which I recognized from the novels: bronze eels, terracotta flounders, dry-point etchings of a boy beating a tin drum. I envied him his artistic gift almost more than I admired him for his literary genius. How wonderful, at the end of a day’s writing, to walk down the street and become a different sort of artist! He designed his own book covers, too: dogs, rats, toads moved from his pen onto his dust jackets.





After that meeting, every German journalist I met wanted to ask me what I thought of him, and when I said that I believed him to be one of the two or three greatest living writers in the world some of these journalists looked disappointed, and said, “Well, ‘The Tin Drum,’ yes, but wasn’t that a long time ago?” To which I tried to reply that if Grass had never written that novel, his other books were enough to earn him the accolades I was giving him, and the fact that he had written “The Tin Drum” as well placed him among the immortals. The skeptical journalists looked disappointed. They would have preferred something cattier, but I had nothing catty to say.

I loved him for his writing, of course—for his love of the Grimm tales, which he remade in modern dress, for the black comedy he brought to the examination of history, for the playfulness of his seriousness, for the unforgettable courage with which he looked the great evil of his time in the face and rendered the unspeakable into great art. (Later, when people threw slurs at him—Nazi, anti-Semite—I thought: let the books speak for him, the greatest anti-Nazi masterpieces ever written, containing passages about Germans’ chosen blindness toward the Holocaust that no anti-Semite could ever write.)

On his seventieth birthday, many writers—Nadine Gordimer, John Irving, and the whole of German literature—assembled to sing his praises at the Thalia Theatre in Hamburg, but what I remember best is that when the praise songs were done music began to play, the theatre’s stage became a dance floor, and Grass was revealed as a master of what I call joined-up dancing. He could waltz, polka, foxtrot, tango, and gavotte, and it seemed that all the most beautiful girls in Germany were lining up to dance with him. As he delightedly swung and twirled and dipped, I understood that this was who he was: the great dancer of German literature, dancing across history’s horrors toward literature’s beauty, surviving evil because of his personal grace, and his comedian’s sense of the ridiculous as well.

To those journalists who wanted me to diss him in 1982, I said, “Maybe he has to die before you understand what a great man you have lost.” That time has now arrived. I hope they do.



“I have always felt we speak too much about human beings. This world is crowded with humans, but also with animals, birds, fish, and insects. They were here before we were and they will still be here should the day come when there are no more human beings.”
Günter Grass (1927–2015), The Art of Fiction no. 124, interviewed by Elizabeth Gaffney in “The Paris Review” no. 119 (Summer 1991).




Günter Grass (1927–2015)
THEPARISREVIEW.ORG


Günter Grass has achieved a very rare thing in contemporary arts and letters, earning both critical respect and commercial success in every genre and artistic medium he has taken up. A novelist, poet, essayist, dramatist, sculptor and graphic artist, Grass appeared on the international literary scene with the publication of his first novel, the 1958 best-seller The Tin Drum. It and his subsequent works—the novella Cat and Mouse (1961) and the novel Dog Years (1963)—are popularly known as the Danzig trilogy. His many other books include From the Diary of a Snail (1972), The Flounder (1977). The Meeting at Telgte (1979), Headbirths, or The Germans are Dying Out (1980), The Rat (1986), and Show Your Tongue(1989). Grass always designs his own book jackets, and his books often contain illustrations by the author. He has been the recipient of numerous literary prizes and medals, including the 1965 Georg Büchner Prize and the Carl von Ossietzky Medal (1977), and is a foreign honorary member of the American Academy of Arts and Sciences.
Grass was born in 1927 on the Baltic coast, in a suburb of the Free City of Danzig, now Gdansk, Poland. His parents were grocers. During World War II he served in the German Army as a tank gunner, and was wounded and captured by American forces in 1945. After his release, he worked in a chalk mine and then studied art in Düsseldorf and Berlin. He married his first wife, the Swiss ballet dancer Anna Schwarz, in 1954. From 1955 to 1967, he participated in the meetings of Group 47, an informal but influential association of German writers and critics, so called because it first met in September of 1947. Its members, including Heinrich Böll, Uwe Johnson, Ilse Aichinger, and Grass, were organized around their common mission to develop and use a literary language that stood in radical opposition to the complex and ornate prose style characteristic of Nazi-era propaganda. They last met in 1967.
Living on a small stipend from the publishing house Luchterhand, Grass and his family spent the years 1956 to 1959 in Paris, where he wrote The Tin Drum. In 1958 he won the annual prize of Group 47 for his readings from the work in progress. The novel shocked and astounded German critics and readers, confronting them for the first time with a harsh depiction of the German bourgeoisie during the Second World War. Grass’s 1979 volume, The Meeting at Telgte, is a fictitious account of a meeting of German poets in 1647 at the close of the Thirty Years’ War. The purpose of the fictional gathering, as well as the book’s cast of characters, parallels that of the post–World War II Group 47.
In Germany, Grass has long been as well known for his controversial politics as he is for his celebrated novels. He was Willy Brandt’s chief speechwriter for ten years and is a longtime supporter of the Social Democratic Party. Lately, he has been one of the few German intellectuals to protest publicly the swift course German reunification has taken. In 1990 alone, Grass published two volumes of lectures, speeches, and debates on the subject.
When he is not traveling, he divides his time between his estate in Schleswig-Holstein where he lives with his second wife Ute Grunert and the house in the Schöneberg section of Berlin where his four children were raised and where his assistant Eva Hönisch now manages his affairs. This interview was conducted in two sessions, one before an audience at the 92nd Street YMWHA in Manhattan and one last fall at the yellow house on Niedstraβe, when Grass had found a few hours’ time during a brief stopover. He spoke in small gable-windowed study with white walls and wooden floors. The far corner was piled high with boxes of books and manuscripts. Grass was dressed comfortably, in a tweed jacket and button-down shirt. He had originally agreed to do an interview in English, thereby circumventing the complications of subsequent translation, but when reminded of this squinted his eyes and smiled, announcing, “I am much too tired! We will speak German.” Despite his professed travel-weariness, he spoke with energy and enthusiasm about his work, often laughing quietly. The interview ended when his twin sons Raoul and Franz arrived to pick their father up for a dinner to celebrate their birthday.

INTERVIEWER
How did you become a writer?
GÜNTER GRASS
I think it had something to do with the social situation in which I grew up. Ours was a lower-middle-class family; we had a small, two-room apartment. My sister and I did not have our own rooms, or even a place to ourselves. In the living room, beyond the two windows, was a little corner where my books were kept, and other things—my watercolors and so on. Often I had to imagine the things I needed. I learned very early to read amidst noise. And so I started writing and drawing at an early age. Another result is that I now collect rooms. I have a study in four different places. I’m afraid to return again to the situation of my youth, with only a corner in one small room. 
INTERVIEWER
What made you turn to reading and writing in this situation, rather than, say, to sports or some other distraction? 
GRASS
As a child I was a great liar. Fortunately my mother liked my lies. I promised her marvelous things. When I was ten years old she called me Peer Gynt. Peer Gynt, she said, here you are telling me marvelous stories about journeys we will make to Naples and so on . . . I started to write down my lies very early. And I continue to do so! I started a novel when I was twelve years old. It was about the Kashubians, who turned up many years later in The Tin Drum, where Oskar’s grandmother, Anna, (like my own) is Kashubian. But I made a mistake in writing my first novel: all the characters I had introduced were dead at the end of the first chapter. I couldn’t go on! This was my first lesson in writing: be careful with your characters.
INTERVIEWER
What lies have given you the greatest pleasure?
GRASS
Lies that do not hurt, which are different from lies that protect oneself or hurt another person. That is not my business. But the truth is mostly very boring, and you can help it along with lies. There is no harm in that. I have learned that all my terrible lies really have no effect on what is out there. If, several years ago, I had written something that predicted the recent political developments in Germany, people would have said, What a liar!
INTERVIEWER
What was your next effort after the failed novel?
GRASS
My first book was a book of poetry and drawings. Invariably the first drafts of my poems combine drawings and verse, sometimes taking off from an image, sometimes from words. Then, when I was twenty-five years old and could afford to buy a typewriter, I preferred to type with my two-finger system. The first version ofThe Tin Drum was done just with the typewriter. Now I’m getting older and though I hear that many of my colleagues are writing with computers, I’ve gone back to writing the first draft by hand! The first version of The Rat is in a large book of unlined paper, which I got from my printer. When one of my books is about to be published I always ask for one blind copy with blank pages to use for the next manuscript. So, these days the first version is written by hand with drawings and then the second and the third are done on a typewriter. I have never finished a book without writing three versions. Usually there are four with many corrections.
INTERVIEWER
Does each version begin at alpha and proceed to omega?
GRASS
No. I write the first draft quickly. If there’s a hole, there’s a hole. The second version is generally very long, detailed, and complete. There are no more holes, but it’s a bit dry. In the third draft I try to regain the spontaneity of the first, and to retain what is essential from the second. This is very difficult.
INTERVIEWER
What is your daily schedule when you work?
GRASS
When I’m working on the first version, I write between five and seven pages a day. For the third version, three pages a day. It’s very slow.
INTERVIEWER
You do this in the morning or in the afternoon or at night? 
GRASS
Never, never at night. I don’t believe in writing at night because it comes too easily. When I read it in the morning it’s not good. I need daylight to begin. Between nine and ten o’clock I have a long breakfast with reading and music. After breakfast I work, and then take a break for coffee in the afternoon. I start again and finish at seven o’clock in the evening. 
INTERVIEWER
How do you know when a book is finished?
GRASS
When I am working on an epic-length book, the writing process is fairly long. It takes from four to five years to get through all the drafts. The book is done when I am exhausted.
INTERVIEWER
Brecht was compelled to rewrite his works all the time. Even after they were published, he never considered them finished.
GRASS
I don’t think I could do that. I can only write a book like The Tin Drum orFrom the Diary of a Snail at a special period of my life. The books came about because of how I felt and thought at the time. I’m sure that if I were to sit down and rewrite The Tin Drum or Dog Years or From the Diary of a Snail I would destroy it. 
INTERVIEWER
How do you distinguish your nonfiction from your fiction?
GRASS
This “fiction versus nonfiction” business is nonsense. It may be useful to booksellers to classify books by genre, but I don’t like having my books categorized that way. I’ve always imagined some committee of booksellers holding meetings to decide which books should be called fiction and which nonfiction. I say what the booksellers are doing is fiction. 
INTERVIEWER
Well, when you write essays or speeches is the method, the technique different from what you use when you tell stories and make things up?
GRASS
Yes, it’s different because I am confronted with facts I cannot change. It’s not very often that I keep a diary, but I did in preparation for From the Diary of a Snail. I had the feeling that 1969 would be an important year, that it would bring about real political change beyond just ushering in a new government. So while I was on the road campaigning from March to September of 1969—a long time—I kept a diary. The same happened to me in Calcutta. The diary I kept then developed intoShow Your Tongue.
INTERVIEWER
How do you juggle your political activism with your visual art and your writing?
GRASS
Writers are involved not only with their inner, intellectual lives, but also with the process of daily life. For me, writing, drawing, and political activism are three separate pursuits; each has its own intensity. I happen to be especially attuned to and engaged with the society in which I live. Both my writing and my drawing are invariably mixed up with politics, whether I want them to be or not. I don’t actually set out with a plan to bring politics into something I’m writing. It’s much more that with the third or fourth time I scratch away at a subject, I discover things that have been neglected by history. While I would never write a story that was simply and specifically about some political reality, I see no reason to omit politics, which has such a great, determining power over our lives. It seeps into every aspect of life in one way or another.
INTERVIEWER
You incorporate so many different genres into your work—history, recipes, lyrics . . .
GRASS
. . . and drawings, poems, dialogue, quotations, speeches, letters! You see, when dealing with epic concepts I find it necessary to use every aspect of language available and the most diverse forms of linguistic communication. Remember though, that some of my books are very pure in form—the novella Cat and Mouse and The Meeting at Telgte.
INTERVIEWER
Your interlocking of words and drawing is unique.
GRASS
Drawing and writing are the primary components of my work, but not the only ones; I also sculpt when I have the time. For me, there is a very clear give-and-take relationship between art and writing. Sometimes this relationship is stronger, other times weaker. In the last few years it has been very strong. Show Your Tongue, which takes place in Calcutta, is an example of this. I could never have brought that book into existence without drawing. The incredible poverty in Calcutta constantly draws the visitor into situations where language is stifled—you cannot find words. Drawing helped me to find words again while I was there.
INTERVIEWER
In that book, the text of the poems appears not only in print, but also in handwriting superimposed on the drawings. Are the words to be considered a graphic element and a part of the drawings?
GRASS
Some elements of the poems were formulated or suggested by the drawings. When words finally came to me, I began to write on top of what I had drawn—text and drawing superimposed on one another. If you can make out the words in the drawings, that’s fine; they are there to be read. But the drawings generally contain early drafts, what I first wrote by hand before sitting myself down at the typewriter. It was very difficult to write this book, and I’m not sure why. Perhaps it was the subject, Calcutta. I have been there twice. The first time was eleven years before I began Show Your Tongue. It was my first time in India. I spent only a few days in Calcutta. I was shocked. There was, from the beginning, the wish to come back, to stay longer, to see more, to write things down. I went on other voyages—in Asia, Africa—but whenever I saw the slums of Hong Kong or Manila or Jakarta, I was reminded of the situation in Calcutta. There is no other place I know where the problems of the first world are so openly mixed up with those of the third, out in the in daylight.
So I went to Calcutta again, and I lost my ability to use language. I couldn’t write a word. At this point the drawing became important. It was another way of trying to capture the reality of Calcutta. With the help of the drawings I was finally able to write prose again—that is the first section of the book, a kind of essay. After that I began work on the third section, a long poem of twelve parts. It is a city poem, about Calcutta. If you look at the prose, drawings and poem together, you see that they deal with Calcutta in related but separate ways. There is a dialogue among them, although the textures of the three are very different. 
INTERVIEWER
Is any one of these textures more important than the others?
GRASS
I can answer, only for myself, that poetry is the most important thing. The birth of a novel begins with a poem. I will not say it is ultimately more important, but I can’t do without it. I need it as a starting point.
INTERVIEWER
A more dignified art form, perhaps, than the others?
GRASS
No, no, no! Prose, poetry, and drawings stand side by side in a very democratic way in my work.
INTERVIEWER
Is there something physical, sensual about the act of drawing that is absent from the process of writing?
GRASS
Yes. Writing is a genuinely laborious and abstract process. When it is fun, the pleasure is wholly different from the pleasure of drawing. With drawing, I am acutely aware of creating something on a sheet of paper. It is a sensual act, which you cannot say about the act of writing. In fact, I often turn to drawing to recover from the writing.
INTERVIEWER
Writing is so unpleasant and painful?
GRASS
It’s a bit like sculpting. With sculpture, you have to work from every side. If you change something here, you have to change something there. Suddenly you change one plane . . . and the sculpture becomes something! There is some music in it. The same can happen with a piece of writing. I can work for days on the first or second or third draft, or on a long sentence, or just one period. I like periods, as you know. I work and I work and it’s all right. Everything’s in there, but there’s something heavy about it. Then I make a few changes, which I don’t think are very important, and it works! This is what I understand happiness to be, something like happiness. It lasts for two or three seconds. Then I look ahead to the next period, and it’s gone.
INTERVIEWER
To return to poetry for a moment, do poems that you write as parts of novels differ in some way from autonomous ones?
GRASS
At one time I was very old fashioned about writing poetry. I thought that when you have enough good poems, you should go out and look for a publisher, do some drawings and print a book. Then you’d have this marvelous volume of poetry, quite isolated, only for lovers of poetry. Then beginning with From the Diary of a Snail, I began to put poetry and prose together on the pages of my books. This poetry has a different tone. I don’t see any reason to isolate poetry from prose, especially when we have in the German literary tradition such a wonderful mixture of the two genres. I have become increasingly interested in putting poetry between the chapters and using it to define the texture of the prose. Besides, there’s the chance that prose readers who have the feeling that “poetry is too heavy for me” will see how much simpler and easier poetry can sometimes be than prose. 
INTERVIEWER
How much do English-speaking readers lose by reading your books in English?
GRASS
That’s very difficult for me answer—I am not an English reader. But I do try to help out with the translations. When I went over the manuscript of The Flounderwith my German publisher, I asked for a new contract. It stipulates that once I have finished a manuscript and my translators have studied it, my publisher organizes and pays for a meeting for all of us. We did it first with The Flounder, then with The Meeting at Telgte, and with The Rat too. I think it is a great help. The translators know everything about my books and ask marvelous questions. They know the books even better than I do. This can sometimes be unpleasant for me, because they also find the flaws in the books and tell me about them. The French, Italian, and Spanish translators compare notes at these meetings and have found that their collaboration helps all of them bring the books into their own languages. I certainly prefer translations that I can read without being aware that I am reading a translation. In the German language we are lucky to have marvelous translations from Russian literature. The Tolstoy and the Dostoyevsky translations are perfect—they’re really part of German literature. The Shakespeare translations and those of the romantic authors are full of mistakes, but they too are marvelous. Newer translations of those works have fewer mistakes, perhaps none, but can’t be compared to the Friedrich von Schlegel–Ludwig Tieck translations. A literary book, whether it is poetry or a novel, needs a translator who is able to recreate the book within his own language. I try to encourage my translators to do this.
INTERVIEWER
Do you think your novel Die Rättin suffered somehow in English because the title had to be The Rat and therefore did not convey that it is a female rat? “The She-Rat” would not have sounded right to American ears and “Rattessa” is out of the question. The reference to a specifically female rat seems so fascinating, whereas the genderless English word rat conjures up everyday images of those ugly beasts that infest the subways.
GRASS
We did not have this word in the German language either. I created it. I always try to encourage my translators to invent. I tell them, If this word doesn’t exist in your language, create it. Actually, for me it has a nice sound, she-rat.
INTERVIEWER
Why is the rat in the book a female rat? Is that for erotic or feminist or political reasons? 
GRASS
In The Flounder it’s a male. But as I get older I see that I’ve really given myself over to women. I will not change that. Whether it’s a human woman or a rat—a she-rat—it doesn’t matter. I get ideas, you see? They make me jump and dance, and then I find words and stories, and I begin to lie. It’s very important to lie. It makes no sense for me to lie to a man—to sit with a man, together, telling lies—but with a woman! 
INTERVIEWER
So many of your books, like The Rat, The Flounder, From the Diary of a Snail,or Dog Years, center on an animal. Is there some special reason for that?
GRASS
Perhaps. I have always felt we speak too much about human beings. This world is crowded with humans, but also with animals, birds, fish, and insects. They were here before we were and they will still be here should the day come when there are no more human beings. There is one difference between us: in our museums we have the bones of the dinosaurs, enormous animals that lived for many millions of years. And when they died, they died in a very clean way. No poison at all. Their bones are very clean. We can see them. This will not happen with human beings. When we die there will be a terrible breath of poison. We must learn that we are not alone on the earth. The Bible teaches a bad lesson when it says that man has dominion over the fish, the fowl, the cattle, and every creeping thing. We have tried to conquer the earth, with poor results. 
INTERVIEWER
Have you ever learned from criticism?
GRASS
Although I like to think I am a good pupil, critics are not usually very good teachers. Yet there was one period, which I sometimes miss, when I learned from critics. It was the period of Group 47. We read aloud from manuscripts and discussed them. That’s where I learned to discuss a text and give reasons for my opinions, rather than just saying, “I like that.” The critique came spontaneously. The authors would discuss craft, how to write a book, that sort of thing. As for the critics, they had their own expectations as to how an author should write. This mixture of critics and authors was altogether a good experience for me, and a lesson. In fact, that period was important for postwar German literature in general. There was so much confusion after the war, especially in literary circles, because the generation that grew up during the war—my generation—was either uneducated or miseducated. The language was tainted. The significant authors had emigrated. No one expected anything of German literature. The annual meetings of Group 47 provided a context for us from which German literature could re-emerge. Many German authors of my generation were marked by Group 47, although some don’t admit it.
INTERVIEWER
What about criticism published, say, in magazines or newspapers or books? Did that ever affect you? 
GRASS
No. But I learned from other authors. Alfred Döblin had such an effect on me that I wrote an essay on him entitled “On My Teacher Döblin.” You can learn from Döblin without the risk of imitating him. For me, he was much more important than Thomas Mann. Döblin’s novels are not as symmetrical, not as classically formed as Mann’s, and the risks he took were greater. His books are rich, open, full of ideas. I’m sorry that in both America and Germany he is known almost exclusively for Berlin Alexanderplatz. But I am still learning, and there are many others who have taught me. 
INTERVIEWER
What about American authors?
GRASS
Melville has always been my favorite. And I’ve very much enjoyed reading William Faulkner, Thomas Wolfe, and John Dos Passos. There is no one like Dos Passos—with his marvelous depictions of the masses—writing in America now. I miss the epic dimension that once existed in American literature; it has become over-intellectualized. 
INTERVIEWER
What do you think of the movie version of The Tin Drum?
GRASS
Schlöndorff made a good film, even though he didn’t follow the literary form of the book. Perhaps that was necessary, because the point of view of Oskar—who tells his story by constantly jumping from one time period to another—would make a very complicated film. Schlöndorff did something very simple. He just tells the story on one line. There are, of course, whole sections that Schlöndorff cut from the movie version. I miss some of those. And there are aspects of the film I don’t like much at all. The short scenes in the Catholic church don’t quite work because Schlöndorff doesn’t understand anything about Catholicism. He is really a German Protestant, and the Catholic church in the movie looks like a Protestant church that happens to have a confessional in it. But this is one small detail. Altogether, and with the help of the young boy who played Oskar, I think it’s a good film.
INTERVIEWER
You have a special interest in the grotesque—I am thinking especially of the famous scene with the eels squirming out of the horse’s head in The Tin Drum. Where does that come from? 
GRASS
That comes from me. I have never understood why this passage, which is six pages long, is so disturbing. It is a piece of fantastical reality, which I wrote just the same way I go about writing any other detail. But the death and sexuality that are evoked by that image have generated an enormous disgust in people.
INTERVIEWER
What impact has the reunification of Germany had on German cultural life?
GRASS
Nobody listened to the German artists and writers that spoke out against it. Unfortunately the majority of intellectuals did not enter into the discussion, whether for reasons of laziness or apathy I don’t know. Early on, the former chancellor, Willy Brandt, pronounced that the train to German unity had left the station and no one could stop it. An unreflective mass enthusiasm took over. That idiotic metaphor was taken as the truth; it ensured that no one thought about how badly this would damage East German culture, not to mention their economy. No, I do not wish to ride a train that cannot be steered and does not respond to warning signals. I have remained standing on the platform.
INTERVIEWER
How do you react to the sharp criticism you have endured from the German press for your views on reunification? 
GRASS
Oh, I am used to that! It doesn’t affect my position. Reunification has been carried out in a manner that violates our basic law. A new constitution should have been drafted when the divided German states came together again—a constitution appropriate to the problems of a united Germany. We did not get a new constitution. What happened instead was that all the East German states were annexed to West Germany. This was done using a sort of a loophole, an article of the constitution that was intended to enable individual German states to become part of West Germany. It also grants the right of West German citizenship to ethnic Germans, such as defectors from the East. It’s a real problem because not everything about East Germany was corrupt, just the government. And now everything East German—including their schools, their art, their culture—is going to be tossed out or suppressed. It has been stigmatized; that entire part of German culture will vanish. 
INTERVIEWER
German unification is the kind of historical event that you frequently take up in your books. When you write about such situations, do you attempt to give a “true” historical narrative? How do fictional histories like yours complement the history we read in textbooks and newspapers?
GRASS
History is more than the news. I have concerned myself particularly with the progression of historical events in two books, The Meeting at Telgte and The Flounder. In The Flounder, it’s the story of the historical development of human nourishment. There’s not a great deal of material on that subject—we usually call only those things history that have to do with war, peace, political oppression, or party politics. The process of nourishment and human nutrition is a central question, especially important now, when starvation and the population explosion go hand in hand in the third world. Anyway, I had to invent the documentation for this history, and decided upon using a fairy tale as the guiding metaphor. Fairy tales generally speak the truth, encapsulating the essence of our experiences, dreams, wishes, and our sense of being lost in the world. In this way they are truer than many facts. 
INTERVIEWER
What about your characters?
GRASS
Literary characters, and especially the protagonist who must carry a book, are combinations of many different people, ideas, experiences, all bundled together. As a writer of prose you have to create, invent characters—some you like and others you don’t. You can only do it successfully if you can get inside these people. If I don’t understand my own creations from the inside, they will be paper figures, nothing more.
INTERVIEWER
They frequently make reappearences in several different books; I’m thinking again of Tulla, Ilsebill, Oskar, and his grandmother Anna, for example. I get the impression that these characters are all members of a larger fictive world that you have only just begun to document in your novels. Do you ever think of them as having an independent existence?
GRASS
When I begin a book I develop sketches of several different characters. As my work on the book progresses, these fictive characters often begin to live their own lives. For example, in The Rat I had never planned to reintroduce Mr. Matzerath as a sixty-year-old man. But he presented himself to me, kept asking to be included, saying, I am still here; this is also my story. He wanted to get into the book. I have often found that over the course of years, these invented people begin to make demands, contradict me, or even refuse to allow themselves to be used. One is well advised to take heed of these people now and then. Of course, one must also listen to one’s self. It becomes a kind of dialogue, sometimes a very heated one. It is cooperation. 
INTERVIEWER
Why is the character Tulla Pokriefke at the center of so many of your books? 
GRASS
Her character is so difficult and full of contradictions. I was very much touched when I wrote those books. I can’t explain her. If I did, there would be an explanation. I hate explanations! I invite you to make your own picture. In Germany the high-school kids come to school and what they want is to read a good story or a book with a redhead in it! But that’s not allowed. Instead they are instructed to interpret every poem, every page, to discover what the poet is saying. This has nothing to do with art. You can explain a technical thing and its function, but a picture or a poem or a story or a novel has so many possibilities. Every reader creates a poem over again. That’s the reason I hate interpretations and explanations. Still, I’m very glad that you’re still in touch with Tulla Pokriefke.
INTERVIEWER
Your books are often told from many points of view. In The Tin Drum, Oskar speaks from the first person and the third person. In Dog Years, the narrative switches from second to third person. One could go on. How does this technique help you to present your view of the world? 
GRASS
One must always seek out fresh perspectives. For example, Oskar Matzerath. A dwarf—a child even in adulthood—his size and his passivity make him a perfect vehicle for many different perspectives. He has delusions of grandeur, and that is why he sometimes speaks of himself in the third person, just as young children sometimes do. It is part of his self-glorification. It is like the royal we, and in the spirit of de Gaulle, saying, “moi, de Gaulle . . .” These are all narrative postures that provide distance. In Dog Years, there are three perspectives, with the role of the dog different in each. The dog is a point of refraction.
INTERVIEWER
How have your interests changed and your style developed over the course of your career?
GRASS
My first three major books, The Tin Drum, Dog Years, and the novella Cat and Mouse, represent one period—the sixties. The German experience of World War II is central to all three books, which together make up the Danzig trilogy. At that time I felt especially compelled to deal with the Nazi era in my writing, to work through its causes and ramifications. A few years later, I wrote From the Diary of a Snail, which also deals with the war, but was a real departure in terms of my prose style and form. The action takes place in three different epochs: the past (World War II), the present (1969 in Germany, when I began work on the book), and the future (represented by my children). In my head and in the book all these time periods are jumbled together. I discovered that the verb tenses taught in grammar school—past, present, and future—are not so simple in real life. Every time I think about the future, my knowledge of the past and the present are there, affecting what I call future. And sentences that were said yesterday may not really be past and done with—perhaps they will have a future. Mentally, we are not restricted to chronology—we are aware of many different times at once, as if they were one. As a writer, I have to perceive this overlapping of times and tenses and be able to present it. These temporal themes have become increasingly important in my work. Headbirths, or the Germans are Dying Out is really narrated from a new, invented time, which I callVergegenkunft. It’s an amalgam of the words pastpresent, and future. In German, you can run words together to form compounds. Ver- comes from Vergangenheit, which means “past”; -gegen- from Gegenwart, which means “present”; and -kunftfrom Zukunft, the word for “future.” This new, mixed-up time is also central to The Flounder. In that book the narrator has been reincarnated over and over again throughout time, and his many different biographies provide new perspectives, each in its own present tense. To write a book from the perspectives of so many different eras, looking back from the present and in touch with things to come, I thought I would need a new form. But the novel is such an open form, that I found I could shift forms, from poetry to prose, within it.
INTERVIEWER
In From the Diary of a Snail, you combine contemporary politics with a fictionalized account of what befell the Jewish community of Danzig during the Second World War. Did you know that the speechwriting and electioneering you did for Willy Brandt in 1969 would become material for a book?
GRASS
I had no other choice but to go on that election campaign, book or not. Born in 1927, in Germany, I was twelve years old when the war started and seventeen years old when it was over. I am overloaded with this German past. I’m not the only one; there are other authors who feel this. If I had been a Swedish or a Swiss author I might have played around much more, told a few jokes and all that. That hasn’t been possible; given my background, I have had no other choice. In the fifties and the sixties, the Adenauer period, politicians didn’t like to speak about the past, or if they did speak about it, they made it out to be a demonic period in our history when devils had betrayed the pitiful, helpless German people. They told bloody lies. It has been very important to tell the younger generation how it really happened, that it happened in daylight, and very slowly and methodically. At that time, anyone could have looked and seen what was going on. One of the best things we have after forty years of the Federal Republic is that we can talk about the Nazi period. And postwar literature played an important part in bringing that about. 
INTERVIEWER
The Diary of a Snail begins, “Dear children.” This is an appeal to the entire generation that grew up after the war, but you are also addressing your own children.
GRASS
I wanted to explain how the transgression of genocide came about. Born after the war, my children had a father who drove off to campaign and give speeches on Monday morning and did not come back again until the following Saturday. They asked, “Why do you do this, why are you constantly away from us?” I tried to make it clear to them, not only verbally, but in what I wrote. The incumbent chancellor at that time, Kurt Georg Kiesinger, had been a Nazi during the war. So I was not only campaigning for a new German chancellor, but also against the Nazi past. In my book I didn’t want to stick merely to abstract numbers—“so and so many Jews were murdered.” Six million is an incomprehensible number. I wanted it to have a more physical impact. So I chose as the thread to my story the history of the Danzig synagogue, which stood in that city for many centuries until it was destroyed during the war by the Nazis—Germans. I wanted to document the truth of what happened there. In the final scene of the book I relate this to the present; I write about my preparations for a lecture given in honor of Albrecht Dürer’s three hundredth birthday. The chapter is a melancholy reflection on Dürer’s engraving Melencholia Iand the effect melancholy has had on human history. I imagine that a culture-wide state of melancholy would be the correct attitude for Germans to have toward the Holocaust. Repentant and mournful, it would be informed by some insight about the causes of the Holocaust, which would carry over to our times as a lesson.
INTERVIEWER
This is typical of so many of your books, focusing on some aspect of wretchedness in the current world situation and the horrors that seem to lie ahead. Do you mean to teach, to warn, or to incite your readers to some kind of action? 
GRASS
Simply, I do not want to deceive them. I want to present the situation they are in, or one they may look forward to. People are disconsolate, not because everything is so awful but because we as human beings have it in our hands to change things, but don’t. Our problems are caused by us, determined by us, and it behooves us to solve them.
INTERVIEWER
Your activism extends to environmental as well as political issues, and you have incorporated this into your work.
GRASS
In the past few years I have traveled a great deal, in Germany and other places. I have seen and drawn dying, poisoned worlds. I published a book of drawings calledDeath of Wood about one such world, on the border between the Federal Republic of Germany and what was then still the German Democratic Republic. There, well in advance of the political union, a reunification of Germany occurred in the form of dying forests. This is also true of the mountain range on the border of West Germany and Czechoslovakia. It looks as if a slaughter had taken place. I drew what I saw there. The pictures have brief, pregnant titles that are intended more as commentary than description, and there is an afterword. With this kind of subject matter, drawing has an equal or greater weight than the writing. 
INTERVIEWER
Do you believe that literature has sufficient power to illuminate the political realities of an age? Did you go into politics because as a citizen you felt you could do more than what you could as a writer?
GRASS
I don’t think politics should be left to the parties; that would be dangerous. There are so many seminars and conferences on the subject “can literature change the world”! I think literature has the power to effect change. So does art. We’ve changed our habits of seeing as a result of modern art, in ways of which we are barely aware. Inventions like cubism have provided us with new powers of vision. James Joyce’s introduction of the interior monologue in Ulysses has affected the complexity of our understanding of existence. It’s just that the changes that literature can affect are not measurable. The intercourse between a book and its reader is peaceful, anonymous.
To what extent have books changed people? We don’t know much about this. I can only answer that books have been decisive for me. When I was young, after the war, one of the many books that were important for me was that little volume by Camus, The Myth of Sisyphus. The famous, mythological hero who is sentenced to roll a stone up a mountain, which inevitably rolls back down to the bottom—traditionally a genuinely tragic figure—was newly interpreted for me by Camus as being happy in his fate. The continuous, futile-seeming repetition of rolling the stone up the mountain is actually the satisfying act of his existence. He would be unhappy if someone took the stone away from him. That had a great influence on me. I don’t believe in an end goal; I don’t think the stone will ever remain at the top of the mountain. We can take this myth to be a positive depiction of the human condition, even though it stands in opposition to every form of idealism, including German idealism, and to every ideology. Every Western ideology promises some ultimate goal—a happy, a just, or a peaceful society. I don’t believe in that. We are things in flux. It may be that the stone always slides away from us and must be rolled back up again, but it’s something we must do; the stone belongs to us.
INTERVIEWER
So how do you envision man’s future? 
GRASS
As long as we are needed, there will be some sort of future. I can’t tell you much about it in one word. I don’t want to give an answer to this in one word. I have written a book, The Rat—“The She-Rat,” “Rattessa.” What else do you want? It is a long answer to your question.
Author photograph by Nancy Crampton.


Worth a thousand words《護理札記》 (弗羅倫絲‧南丁格爾); 張文亮《南丁格爾與近代護理》

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護理札記
台灣也有版本
北京:中國人民大學 2010
這本書很取巧 還收入 "傑出的維多利亞時代人物"一書中的 (原文充滿諷刺筆調) 的弗羅倫絲‧南丁格爾


應用統計的女先知-弗羅倫絲‧南丁格爾隨緣自在張貼於 隨緣趣味雅 
許多人都知道南丁格爾是現代護士鼻祖,卻不知道她不但是一位有使命感和深具愛心的女性,也是自修成功的應用統計學家。 弗羅倫絲.南丁格爾(Florence Nightingale, 1820-1910)是英國維多利亞女王時代的傳奇人物,她生長在倫敦一個家世顯赫的上流家庭。 她不甘願容於父母和社會,毅然選擇了護士一行。她的母親寫道:「我和我先生是一對鴨子,卻生出這麼一隻野天鵝。」但是為南丁格爾作傳的作家卻說:「她母親...

From our archive: Florence Nightingale, who died 105 years ago today, was also an accomplished statistician http://econ.st/1DPh0jr

IT WAS at a dinner party in 1856 that Florence Nightingale met William Farr. The Lady of the Lamp was already famous for nursing British soldiers wounded in the...
ECON.ST




張文亮


南丁格爾與近代護理
Florence Nightingale


作者: 張文亮
原文作者:Wen-Lian Chang
出版社:校園書房 1999



與多倫斯─席談
南丁格爾
夜裡,我與多倫斯深談,她說:「提昇護理教育最關鍵的一步,是在收進『較好的學生』。較好的學生知道自己的職責,他們是有備而來的。這種學生進入學校後,最大的特點在『願意學習』。他們學習的動機,除了為得護理的知識,更為校正自己品格上的缺點。第一流的護理人員,常是來自這一批學生,他們的生命中有一種特質,就是『個性穩定』。只有個性穩定的人才能指導別人、影響別人。
個性不穩定的人,常會因自己情緒的好壞,給別人不同的評價。並且多做一點點事情,就誇大自己的受苦情操,懂一點點護理,就愛對別人吹毛求疵。
喜歡批評是三流學生的通病,喜好批評會使他們無法在學到什麼。這種學生以後從事護理,也沒有辦法背負責任。愛批評的人不會教導人,他們只會把自己不要的推開。這種人一多,前進的路上就會堆滿一堆障礙物,再熱的澡缸都會被她們泡冷,想做事的人不會留在冷澡缸裡。」
她又說:「一個喜好批評的人絕對不會成為一個好的管理者,好的管理者是經常願意服在別人手下,讓別人管理他。我的一生都是在別人的管理之下,小時候我媽媽管理我,結婚以後我丈夫替我管理大小事情,在醫院裡也有護理長為我管這管那的。」
我問她:「但是,妳如何讓別人為妳管理呢?」
她說:「首先,我挑選具有母親氣質的人做護理長,因為溫柔是最好的管理。我可以不計較別的條件,但堅持要具有這種特質的人才能當護理長。如果沒有這些優秀的護理長,我手邊有再好的計畫也沒有用。當我能留下好的護理長,就不用擔心管理推不動了。管理一個護理人員,絕對不是不管他,也不是控制他,而是影響他。」
我繼續問她:「那妳如何影響管理下的護理人員呢?」
多倫斯回答說:「對一個護理長而言,醫院與病人都不是他最優先的考慮。他最優先的思考,除了家庭以外,就是他底下的護士們。他根本不用特意去管理或督導護士……,很多女人認為只要孩子照她的話去做,她就是一個好母親,這是錯誤的想法。
真正的好母親,是一直把孩子放在自己思想的優先順序上,就能不斷地把孩子繼續帶向前,而且訓練孩子就像熬煉金子一樣,愈熬煉愈顯出光芒。即使有時孩子似乎處於與妳對立的狀態下,母親的心也是安然……。
有些護理長只是好人,但是懦弱得不敢說真話,他底下的護士就會彎曲著成長。有些護理長是很有愛心,但是太憂愁傷感,他底下的護士會看他的情緒來行事。一個人個性不穩定,就無法執行權柄、無法教導、無法影響人,太多情緒化的人是管理上的無能者……。」
我繼續問她:「那麼,護理長如何看出一名護士的優缺點呢?」
  多倫斯回答道:「許多護理長以為最好的護士是一聽到指示,就立刻去做的人,這是錯誤的看法。這種『公牛型』的護士,常是動作快,做事卻不用腦袋。最好的護士常會有一點遲延,需要護理長明確的指示與鼓勵。這種護士會在護理長或督導的指示下,在雙方正確的互動中,不斷的思索往前去。如果這種護士離職,將是醫院最大的損失。」
我問道:「如何培養護理長、督導與底下護士們的互動呢?」
多倫斯答道:「互動的基礎不是建立在職務上的高低,而是建立在道德與靈性上的幫助,為此資深護理人員帶領聖經班,增加與資淺護理人員靈性的團契,並使他們自己能得堅固。」
─1871年,南丁格爾與多倫斯交談後所作的筆記。多倫斯是南丁格爾護是學校第八屆畢業生,後擔任護理主任。南丁格爾認為多倫斯對事情的看法,經常切中問題核心。


護理的尊貴與榮耀(五) 南丁格爾的護理對普世醫院建築的改革
護理的英文是nursing,
源自古老的拉丁字源nutrire,
代表從事護理工作的人,有三種身份:
對疾病與弱勢的人,是「照顧者」
對錯誤的制度,是「改革者」,
對不明的人,是「教育者」。
1865年1月11日,是近代醫療史上的一個里程碑。倫敦東南方的烏里芝(Woolwich)鎮,成立普世第一間的「分棟醫院」(pavilion hospital)。這間醫院的配置,能讓不同的科別,處於不同的分棟。每一棟之間有迴廊相通,各棟有絕佳的視野,能看到醫院週遭7.6 公頃的花園,建築內也有良好的通風與採光。這醫院的設計者是南丁格爾,施工者是皇家首席的工程師高爾頓爵士(Sir Douglas Strut Galton, 1822-1899)。
這醫院的成立,是英國皇家與議會支持南丁格爾改革醫療的理念,感謝她在克里米亞之戰的貢獻。第一批收容的病人,全是克里米亞之戰的傷兵。這醫院名叫「皇家赫伯特軍醫院」(Royal Herbert Military Hospital),由於是普世第一間分棟式的醫院,又稱為「赫伯特分棟醫院」(Herbert pavilion hospital)。
在此之前,醫院有二種款式,醫生在家裡所開的診所,與許多門診組成的醫院。後者像是一個菜市場,不同的分科都放在同一建築內。看病要走錯綜複雜的通道,病房像是迷宮式的小格。病房通風不良,常有腐臭味;採光不佳,病人如同躺在死蔭。不同類型的病人放在一起,也易引發傳染。
南丁格爾認為醫療改革從建築環境切入,而且護理人員在醫院必須有專屬的空間—「護理站」(nursing station),用來幫助護理功能與看護效率的地方。護理人員,不能坐在病床邊,分棟醫院可以提供這空間。
1858年,南丁格爾向英國「社會研究委員會」(Social Science Congress)提出分棟醫院的理念,她認為醫院建築愈大環境會愈差,疾病的感染率將大增。她在建言中提到:「分棟醫院才能增加醫療效率,減少擁擠與感染,增加採光與通風,建築人性化,提昇分工管理,給病人更多視覺的空間,與容易保持乾淨。」。但是反對的聲浪很大,主要是分棟建築將增加用地空間,不易集權管理,與傳統的醫院建築不符。南丁格爾的設計理念,一時被譏為「南丁格爾的堡壘」(Nightingale’s wards)。南丁格爾寫道:「人類的管理,很容易落入自我滿意的陷阱,而非自我更新。因此每一個時代,都需要改革。」又寫道:「護理的專業,在知道危害生命的是什麼?影響健康的是什麼?人類忽視週遭的環境,生命卻能一代又一代的傳遞,實在是神蹟。」
當時,大力支持南丁格爾的人,消弭反對聲浪的是「愛丁堡皇家外科學院」(Royal College of Surgeons of Edinburgh)教授,婦產學與小兒醫學的權威羅伯頓(John Roberton, 1797-1876),與「建築家」(Builders)雜誌的主編戈德溫(George Godwin, 1815-1888)。
羅伯頓推動照顧病人也要兼顧病人的心理,提倡給貧窮的母親免費的牛奶,與醫院「義工制」的開啟者。他是個熱心的基督徒,經常招聚街道上的孩子,為他們上課,並提供免費的麵包。他也推動「乾淨城市」(clean city),提出都市內不得設立工業區。他認為醫院不要選在交通道路的中心,醫院環境將變喧雜,醫院的選址應隨著道路的動線,分散出去。他與南丁格爾一起推動分棟醫院,讚揚南丁格爾對新式醫院的設計,是:「不斷的溝通,仔細的規劃,與護理的創意。」
戈德溫專攻古典建築學,是當時最著名的建築藝術鑑賞家,他以傑出的文學才華,編撰周刊,介紹建築之美。他認為:「乾淨的房子最美,乾淨的社區才能襯托美麗的房子。」,他大力推動在貧民區建造「公共澡堂」、「洗衣房」、「低價勞工住宅」,與「無息貧民購屋基金」。他支持南丁格爾分棟醫院的理念,並用雜誌廣為宣揚。
南丁格爾設計的分棟醫院不是一線排列的建築,而是在空間上形成不同鑲塊體,鑲塊體間互相串聯,使建築之間能夠自動產生熱對流與引風果效。南丁格爾寫道:「醫院要有合適的通風,必須要有合宜的溫度;要有合適的溫度,就要有合宜的通風。」。此外她也設計醫院建築內的中央溫控、抽風排氣、牆壁防潮、自然採光、輸水與儲水、管線配置、排污、防火、排煙、避難通道等,連大門位置、窗戶方位全都考慮。她用建築內上下的溫差,屋頂內外的風壓來調排氣、散熱。後來皇家赫伯特軍醫院,被稱為歐洲最佳醫院的建築。
後來在1871年,英國最負盛名的聖‧湯瑪斯醫院(St. Thomas Hospital)也改成分棟醫院。1877年,約翰‧霍浦金斯醫院(Johns Hopkins Hospital)成為美國第一間分棟醫院。分棟醫院漸為普世醫院所仿效,造福無數的病人。
※參考文獻
1. Sloane, D.C., 1984. Scientific paragon to hospital mall: The evolving design of the hospital, 1885-1994. Journal of Architectural Education. Vol. 48, No. 2, pp. 82-98.
2. Prior, L., 1988. The architecture of the hospital: A study of spatial organization and medical knowledge. The British Journal of Sociology. Vol. 39, No. 1, pp. 86-113.
3. Bruegmann, R., 1978. Central heating and forced ventilation: Origins and effects on architectural design. Journal of the Society of Architectural Historians. Vol. 37, No. 3, pp. 143-160.

Homer:The Iliad 《伊里亞德》(The Iliad)與《奧德賽》(The Odyssey)

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'Let me not then die ingloriously and without a struggle, but let me first do some great thing that shall be told among men hereafter.’
The whole of Homer's ‪#‎Iliad‬ is being performed in the Great Court today in association with Almeida Theatre. Watch a live stream of it here! http://ow.ly/QTqO1

British Museum 的相片。





史詩《奧德賽》是一整個文化的共同作品?
作家說,《伊里亞德》與《奧德賽》是一整個文化共同創作的,而非出自「荷馬」一人之手。
「把荷馬視為一個人物是錯的,」《Why Homer Matters》一書作者表示。
0107 homer odyssey-1
這尊胸像的年代大約在公元前750年左右,據說是希臘詩人荷馬(Homer)的肖像。他是《伊里亞德》與《奧德賽》的作者——這兩部史詩原是吟遊詩人口耳相傳已久的作品,後來才以文字寫下。攝影:HULTON ARCHIVE/GETTY
《伊里亞德》(The Iliad)與《奧德賽》(The Odyssey)是西方文明的兩部關鍵作品。但對於其作者、創作年代與創作方式,我們幾乎一無所知。歷史學者與得獎作家 Adam Nicolson 在《Why Homer Matters》一書中提出,我們應該把荷馬視為一個「傳統」而非一個「人」,且這兩部作品的年代比一般認為的還要早上千年。
你的書一開始就是一場海上風暴。
大概十年前,我跟一個朋友一起出海。我們想來趟大冒險,因此決定沿著英倫群島的西海岸往北航行,沿途造訪各個偏遠島嶼。我帶了一本 Robert Fagles 翻譯的《奧德賽》,那時我已經有大概 25 年沒認真讀過荷馬了。
我們遇上一堆慘事。我們的裝備壞了,而且從康瓦耳過來的那趟航程很遠。後來,當我們繫泊在愛爾蘭西南部的一座碼頭邊時,我躺在臥舖上,打開了這本書,結果發現自己讀的似乎是事實——彷彿有人以奧迪西斯的身分告訴我人活在世上是怎麼回事。
奧迪西斯就是我們人生的隱喻:跟大風大浪對抗、邂逅讓人難以抗拒的仙女、發現自己陷入無法抉擇的困境。我忽然覺得,這本書正以我從前怎麼也想不到的方式對我說話。
0107 homer odyssey-2
這幅公元3世紀的馬賽克描繪尤里西斯(Ulysses,又名奧迪西斯)被綁在船的桅杆上傾聽女海妖的歌聲然後存活下來的畫面。攝影:KPZFOTO, ALAMY
共有七個地點被指為荷馬的出生地。也有人說他是瞎子。19世紀的諷刺家 Samuel Butler 還寫過一整本書,企圖證明他其實是個「她」。我們究竟知不知道任何關於荷馬的事實?
我認為把荷馬想成一個「人」是錯的。荷馬是個「它」。是一個傳統。是一整個文化,愈來愈細膩、愈來愈懂得如何訴說它所重視的故事。荷馬的本質是共通的。
今日的我們有作者情結——我們老是想知道某人的生平故事。但荷馬沒有生平。《伊里亞德》和《奧德賽》就像維京人的長船,沒有人知道是誰造的,它們跟任何名字都沒有關連,也沒有文字形式的設計或草圖。它們只是在悠久而謹慎的傳統下演化出來的美麗產物。
甚至也有人懷疑它們的創作年代。一般認為是在公元前800年左右。你認為這個傳統比那還要早得多。請說明一下。
我認為這兩部史詩大約公元前2000年就已經開始流傳了——比大多數人認定的荷馬在世年代還早了1000到1200年。我這麼說有兩個理由。第一:在荷馬的故事裡,尤其是《伊里亞德》,有很多重要元素都是整個印歐世界共通的,從印度北部一路到希臘、德國和冰島的故事裡都找得到。荷馬的作品裡有一些深層的元素跟希臘或愛琴海根本沒關係。
第二:《伊里亞德》裡的情況很明顯不是兩個高度文明的國家在打仗。《伊里亞德》裡的文明國家只有特洛伊。那是個架構嚴明、組織完善的城市,女性也活得很有尊嚴。
出了特洛伊城,就是這票野蠻人——希臘人。希臘人是荷馬眼中的野蠻人。希臘人營地裡的氣氛就像現代工業化城市裡那些黑幫橫行的區域。秩序、法律、關愛都不算什麼。唯一有意義的就是復仇與自我。
而到了公元前1800到1700年之後,還把希臘人描繪成這個樣子就沒道理了。因為在那之後,希臘人就已經抵達地中海,並且開始創造出一個文明社會。在那之前,他們基本上是一些部族,來自黑海與裏海之間的乾草原——四處遊徙、男性至上、逞凶鬥狠。
這就是荷馬故事的本質:一座美麗的城市,試圖抵抗外頭那些愈來愈無法無天、愈來愈暴力的戰士。《伊里亞德》就是在寫這個。
研究荷馬的知名學者 Bernard Knox 說,人類的狀態 3000 年來都沒有改變。我們依然是暴力的愛好者與受害者,而只要這點沒變,荷馬就會被當成人性最真實的詮釋來閱讀。我們有可能喜歡荷馬但不喜歡暴力嗎?
我認為說到最後,荷馬其實也不喜歡暴力。荷馬以戲劇化的方式把暴力當作人性的一個面向來描繪,但他並不歌頌暴力。如果認為荷馬是在描寫暴力的戰士生活有多美麗,那誤會就大了。
關鍵出現在《伊里亞德》的尾聲。你已經讀過那些可怕的場景:偉大的希臘戰士阿基里斯(Achilles)殺了特洛伊王子赫克特(Hector),把他的遺體綁在馬車後面拖行,而赫克特的家人就站在城牆上看著這一幕。那可不是什麼優雅的出殯儀式。那是混亂凶殘的一刻,我們讀到時只會滿心驚駭。愛爾蘭大詩人Michael Longley 將《伊里亞德》形容為「一片悲傷的海洋」。我認為一點也沒錯。
你說荷馬能讓我們看清自己是誰。但女性就沒啥好說的了,對吧?你太太喜歡荷馬嗎?
[哈哈]。她受不了荷馬!至於我呢,要我花幾年時間寫一本關於荷馬的書也不容易,因為它基本上會讓你跟女性世界脫節。荷馬的作品裡是有一些很棒的女人,例如奧迪西斯的皇后潘妮洛普(Penelope),奧迪西斯不在的那20年間,國家都靠她治理。荷馬非常欣賞那樣的女性。
另一方面,在希臘軍營裡,馬車賽結束後就是頒獎時間。獎品不是一個女奴就是幾頭牛。所以不必懷疑,在荷馬的世界裡,女性整體而言是沒什麼權力的。
0107 homer odyssey-4
在羅浮宮的〈荷馬禮讚〉(1827年)中,這位吟遊詩人被神格化。他腳邊的人物分別代表《伊里亞德》(紅衣)與《奧德賽》(綠衣)。周圍向他致敬的是西洋藝術與文學界的一些偉大人物,包括希臘詩人平達(Pindar,身穿白衣、手拿里拉琴)與索福克勒斯(Sophocles,拿著手稿)。攝影:ART MEDIA, PRINT COLLECTOR/GETTY
撰寫這本書如何改變了你的人生?
就某種角度而言,它讓我長大了。荷馬檢視了人生最糟糕的層面,尤其是《伊里亞德》,這會讓人嚴肅起來。而且他不提供任何撫慰。戰士大部分都死得悽慘,而他們死後也沒有天堂。他們全都下了冥府。
但荷馬想表達的重點是:在這充滿困境與磨難的世界,真正美麗的東西是愛——儘管暴力很真實,人們還是有愛人的可能。
撰文:Simon Worrall, National Geographic
編譯:魏靖儀



----
Homer的二史詩,我有一些版本。發現此blog還沒它們的網頁,所以慢慢建立。

今天買本OUP 的World Classics 版 The Iliad  ,是1974年Robert Fitzgerald 英譯,導言是G. S. Kirk, 1984
  • Homer. 1984. The Iliad. Translated by Fitzgerald, Robert. Oxford: Oxford University Press, 1984.

這本最讓我訝異的是沒注解。有Glossary of index of names 以及Map of real places.

目次
Introduction                                                                            
Select bibliography
Note on references, spellings,and pronunciation
****
http://en.wikipedia.org/wiki/Iliad



伊利亞德的書皮(1572年・Rihel公司)

  • 陳中梅譯。《伊利亞德》。北京:北京燕山出版社,1999。

日本語訳書(原典全訳)[編集]

呉訳は七五調を基本とした擬古文で、原文の語法などを生かすことを主眼においている。三巻の翻訳のうち、上巻には、それまでの古典学の解釈の慣例を破り、あえて直訳した箇所などもあり、その苦闘が伺われる。土井訳は終始一貫して日本語の韻文調に訳しており、『イーリアス』の叙事詩としての美しさを伝えようと腐心している。松平訳はこれに対し、現代人にとっての読みやすさを念頭に、原文が韻文であることを敢えて無視し、散文に置き換えている。詳しくは平凡社版の沓掛解説を参照。他に以下がある。
  • 呉茂一訳 『世界古典文学全集 1 ホメーロス』 筑摩書房、初版1964年、復刊2005年ほか、各訳文は散文体
    • 『筑摩世界文学大系 2 ホメーロス』 筑摩書房、初版1971年、各後者は高津春繁訳「オデュッセイア
  • 高津春繁訳 『イーリアス 愛蔵版』 筑摩書房、1969年
  • 小野塚友吉訳 『完訳イリアス』 風濤社、2004年
The Iliad of Homer, Translated into English Blank Verse by William Cowper, edition c.1860. Online at Project Gutenberg.

Iliad, online version of the work by Homer (English). Pope translation.


Wenceslas Hollar’s engraved title page of a 1660 edition of the Iliad, translated by John Ogilby.
The Iliad

By Homer

Written 800 B.C.E

Translated by Samuel Butler
The Iliad has been divided into the following sections:

Book I  [47k]
Book II  [63k]
Book III  [36k]
Book IV  [42k]
Book V  [66k]
Book VI  [42k]
Book VII  [38k]
Book VIII  [44k] 
Book IX  [53k]
Book X  [45k]
Book XI  [65k]
Book XII  [40k]
Book XIII  [65k]
Book XIV  [43k]
Book XV  [57k]
Book XVI  [68k] 
Book XVII  [57k]
Book XVIII  [48k]
Book XIX  [35k]
Book XX  [42k]
Book XXI  [49k]
Book XXII  [44k]
Book XXIII  [68k]
Book XXIV [62k] 

Alice in Wonderland...1865 ..."阿麗思漫游奇境記" The Water-Babies, A Fairy Tale for a Land Baby

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150 years ago, Lewis Carroll published “Alice’s Adventures in...
NEWS.YALE.EDU



The British Library

Illustration of Alice with the lion and the unicorn from 'Through the Looking-Glass, and what Alice found there ... With fifty illustrations by John Tenniel.', 1897

The British Library 的相片。
The Reverend Charles Lutwidge Dodgson (Lewis Carroll) first told the tale of Alice on a boat trip with the Liddell sisters ‪#‎onthisday‬ in 1862. Find out more about this important day from which sprung Alice's Adventures in Wonderland. http://bit.ly/1GWCeXF


The British Library 的相片。





Alice in Wonderland will be 150 years old on July 4th. See photos from the 1947 stage production. http://ti.me/1JAkjdu
(Philippe Halsman—LIFE Magazine)



Life.com 的相片。


趙元任先生的譯本出來之後,胡適之先生在日記讚美之。
周作人先生1922寫篇書評"阿麗思漫游奇境記"。周作人只有不喜歡"序",那是趙先生模仿L. Carroll文風的作品,周說過於"巧",所以不喜歡。
沈從文受到此譯本的影響,也作他自己的創作:"愛麗思漫游中國記",待查。


張華兄:趙元任的序,採用的其實是悖論(paradox)的寫法,,他在日記裡自承和卡洛爾一樣喜歡悖論:

悖論,亦稱為弔詭詭局,是指一種導致矛盾命題。通常從邏輯無法判斷正確或錯誤稱為悖論,似非而是稱為佯謬有時候違背直覺的正確論斷也稱為悖論。悖論的英文paradox一詞,來自希臘語παράδοξος ,paradoxos意思是「未預料到的」,「奇怪的」。
hc:讀過。阿亮工作室。我覺得趙先生的序很好。
http://www.aliang.net/literature/ebooks/a0007_alsmyqjjv09t.pdf
這次讀序,比較驚訝的是趙先生當時不知道Alice in Wonderful Land 出版年份。他說約1967年。


http://www.alice150.com/wall-street-journal-article-of-june-12-for-the-anniversary-of-alice-in-wonderland-translations-into-pashto-esperanto-emoji-and-blissymbols/#respond

https://en.wikipedia.org/wiki/1865
 (commonly shortened to Alice in Wonderland) is an 1865 novel written by English author Charles Lutwidge Dodgson under the pseudonymLewis Carroll.[1] 

The Secret World of Lewis Carroll

https://www.youtube.com/watch?v=Irlpvtwu1Rs

Down the Rabbit Hole

January 28, 2013 | by 
However complicated Lewis Carroll’s legacy (he turned 151 yesterday), nobody can dispute its role in popular culture. Alice’s Adventures in Wonderland has spawned more than twenty adaptations, not counting those works inspired by the 1865 classic. The following, from 1903, is the first: it stars one May Clark, and features some fairly nifty special effects.


https://www.youtube.com/watch?v=EJoW1Xqndzs


Alice in Wonderland (1903) [Silent Movie]



-----
The Water-Babies, A Fairy Tale for a Land Baby is a children's novel by the ReverendCharles Kingsley. Written in 1862–63 as a serial for Macmillan's Magazine, it was first published in its entirety in 1863. It was written as part satire in support of Charles Darwin'sThe Origin of Species. The book was extremely popular in England, and was a mainstay of British children's literature for many decades, but eventually fell out of favour in part due to its prejudices (common at the time) against Irish, Jews, Americans, and the poor.


Charles Perrault, Robin Hood

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Robin Hood and Maid Marian. 'Robin Hood and his Merry Men ... With 8 illustrations in colour by Walter Crane.', 1915

The British Library 的相片。

Born ‪#‎onthisday‬ in 1628: Charles Perrault, writer of folk tales like‪#‎Cinderella‬ (Cendrillon). Discover more about Disney Princesses in the collection on Tumblr http://ow.ly/GZUKJ


Born #onthisday in 1628: Charles Perrault, writer of folk tales like #Cinderella (Cendrillon). Discover more about Disney Princesses in the collection on Tumblr http://ow.ly/GZUKJ

Charles Perrault (12 January 1628 – 16 May 1703) was a French author and member of the Académie française. He laid the foundations for a new literary genre, the fairy tale, with his works derived from pre-existing folk tales. The best known of his tales include Le Petit Chaperon rouge (Little Red Riding Hood), Cendrillon (Cinderella), Le Chat Botté(Puss in Boots), La Belle au bois dormant (The Sleeping Beauty) and La Barbe bleue(Bluebeard).[1] Many of Perrault's stories, which were rewritten by the Brothers Grimm, continue to be printed and have been adapted to opera, ballet (such as Tchaikovsky'sThe Sleeping Beauty), theatre, and film. Perrault was an influential figure in the 17th-century French literary scene, and was the leader of the Modern faction during theQuarrel of the Ancients and the Moderns.

Perrault in an early 19th-century engraved frontispiece[5]

2011/5/27 HBO 兩部Robin Hood電影之一


Robin Hood

Theatrical release poster
Directed byRidley Scott
Produced by
Screenplay byBrian Helgeland
Story by
  • Brian Helgeland
  • Ethan Reiff
  • Cyrus Voris
Starring
Music byMarc Streitenfeld
CinematographyJohn Mathieson
Editing byPietro Scalia
Studio
Distributed byUniversal Pictures
Release date(s)May 14, 2010
Running time140 minutes (Theatrical)
156 minutes (Director's cut)
Country
  • United Kingdom
  • United States
LanguageEnglish
French
Budget$155 million[1]
Gross revenue$321,669,730[2]
Robin Hood is a 2010 British/American adventure film based on the Robin Hood legend, directed by Ridley Scott and starring Russell Crowe. It was released in the United Kingdom on 12 May 2010, after premiering at the 2010 Cannes Film Festival and was released in the United States on 14 May 2010.[3]

Plot

It is 1199 and Robin Longstride (Russell Crowe) is a common archer in Richard the Lionheart's (Danny Huston) army. A veteran of the Third Crusade and Richard's war against Philip II of France (Jonathan Zaccaï), he now takes part in the siege against Chalus Castle. Disillusioned and war-weary, he believes the King when he invites him to give an honest view of the war and the King's conduct. After Robin gives a frank but unflattering appraisal, Richard immediately breaks his promise of no repercussions for speaking honestly and has Robin and comrades taken prisoner to be judged after ending the siege. The betrayed men decide to free themselves and desert. Following the death of Richard, Robin and two other common archers, Allan A'Dayle (Alan Doyle), Will Scarlett (Scott Grimes), as well as soldier Little John (Kevin Durand), attempt to secretly return to their homeland after fighting abroad for the past 10 years. Along the way they come across an ambush of the Royal guard by Sir Godfrey (Mark Strong), an English knight collaborating with the French. Philip of France had ordered Sir Godfrey to assassinate Richard. Having discovered the King is already slain, Sir Godfrey is chased off by the arrival of Robin and his companions. Aiming to return to England safely and richer in pocket than when they left it, Robin and his men steal the armour of the slain knights and, under the guise of noblemen, head for the English ships on the coast. Before leaving the scene of slaughter, Robin promises one of the dying knights, Robert Loxley (Douglas Hodge), to return a sword to the knight's father in Nottingham.
Upon arriving in England, Robin (who has assumed the identity of Loxley) is brought to London and chosen to inform the Royal family of the King's death. He witnesses the coronation of King John (Oscar Isaac), the younger brother of Richard. Showing no remorse to his poor kingdom, John orders harsh taxes to be collected, sending Sir Godfrey off to the North to do so. He has no idea that Godfrey is a French agent who, using French troops, will use this Royal Decree to stir up enough unrest to cause civil war in England.
Robin and his companions head to Nottingham, where Loxley's old and blind father Sir Walter (Max von Sydow) asks him to continue impersonating his son, in order to prevent the family lands being taken by the crown. Loxley's widow, Lady Marian (Cate Blanchett), is initially distrustful of Robin, but soon warms to him when he recovers taxed grain for the townsfolk to plant.
Meanwhile, Godfrey's actions have stirred up the northern barons, who march to meet King John and demand the signing of a charter of rights. Having realized Godfrey's deception, and knowing he must reunite his people in order to meet an imminent French invasion, the King agrees. A battle follows in which Robin and the northern barons attack Godfrey's men while the latter are ransacking Nottingham—but not before Godfrey has slain the blind Sir Walter.
The film climaxes with a French invasion on England's Dover Beach, opposed by an English army. In the midst of the chaos, Marian attempts to kill Godfrey but he gains the upper hand over her and prepares to kill her. However, Robin intervenes and duels Godfrey himself. The English are victorious and Godfrey attempts to flee on horseback, but Robin, from long distance, puts an arrow through his neck. When King John sees the French surrendering to Robin rather than to himself, he is unhappy, believing it to be a major threat to his power. Therefore, in the final scenes, King John not only reneges on his promise to sign the Charter of the Forest, but also declares Robin to be an outlaw. In response to this, Robin moves to Sherwood Forest with Lady Marian and his friends to form what will become the Merry Men of Sherwood Forest. "So," as the concluding scroll says, "the legend begins."

Cast

Four and twenty blackbirds baked in a pie

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"Sing a Song of Sixpence"
Roud #13191
Sing a sing of sixpence - illustration by Walter Crane - Project Gutenberg eText 18344.jpg
Walter Crane's illustration of the maid hanging out the clothes.
Song
WrittenEngland
Publishedc. 1744
FormNursery rhyme
WriterTraditional
LanguageEnglish
"Sing a Song of Sixpence" is a well-known English nursery rhyme, perhaps originating in the 18th century. It is also listed in the Roud Folk Song Index as number 13191.

Contents

Lyrics[edit]

Cover illustration for by Randolph Caldecott's Sing a Song for Sixpence(1880)





















A common modern version is:
Sing a song of sixpence,
A pocket full of rye.
Four and twenty blackbirds,
Baked in a pie.
When the pie was opened,
The birds began to sing;
Wasn't that a dainty dish,
To set before the king?
The king was in his counting house,
Counting out his money;
The queen was in the parlour,
Eating bread and honey.
The maid was in the garden,
Hanging out the clothes,
When down came a blackbird
And pecked off her nose.[1]

https://www.youtube.com/watch?v=0GzPcGGE-z0





Four and twenty blackbirds baked in a pie. 'The Nursery Rhyme Picture Book', 1883.

The British Library 的相片。

「我們只授業不傳道不解惑」(1985)  作者:王麗華

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這是一篇署名王麗華在1985年寫的相聲似的反諷詩,不只切合時弊,而且頗具文釆,令人佩服。
那是台灣黎明前黑暗的年代,解嚴的前兩年。注意知識份子那段指的是林義雄與陳文成。
其他很多隱喻都意有所指,我同時代的人容易心領意會。詩是日前YC傳給我的。
事隔三十年,不知王麗華其人安在?
(黃武雄2015/08/11)


「我們只授業不傳道不解惑」(1985)  作者:王麗華
所以孩子
當你問我有關公理正義的問題
且讓我這樣回答你
院子裡有一株牽牛花在正午的黑暗下慢慢攀爬
天空中有一群皚皚的白鴿在堆垛如雲的賭資中賣命
屋簷下有兩隻百無聊賴的花貓在追逐彼此的尾巴打架
午後的書房有一只愫細的景德燒在等候兩片冰冷的嘴唇來闡說它茶壺裡的風暴
印度洋有一艘西班牙的沉船在打撈侏儸紀的神話
大肚山上有一朵瀟灑的風景在撿拾陽光的枯骨打算救濟北京最燦爛的春天
明天的報紙鐵定又為了誰是最大的報老板打翻鉛字盤
所以孩子
當你問我有關校園民主的問題
我也許可以這樣回答你
看啊,那滔滔的長江水流著我童年的黏涎
聽啊,那蹀蹀的木屐響著往日情人的絮語
飲啊,這醇醇的白蘭地養著我留學巴黎的回憶
走啦,孩子,只讀過教科書的你
失去一個跟你碼不相干的土地
套取他們的國籍
汲吸一點自由的空氣
稍稍擴張你那日趨萎縮的胸壁
當你已是somebody
再來談論這個問題
(但是,且容我悄悄說一句:
因為somebody可以說的言語
若從你那無毛的小嘴巴流傳出去
乖乖,可能你會變成一隻
被烤熱的小魷魚,到時
每一張垂涎欲滴的嘴都會爭著第一口把你咬下去)
所以孩子
當你問我有關知識份子的問題
我真不知從何說起
其實這是小學生的雞兔問題
同時也是成年人的應用問題
如果你願意
可以學習那些漢子
做個名嘴吃遍海峽兩岸的宴席
然後打打飽嗝抹抹油嘴
本著一隻西湖鱖魚美金三十的良知
向左岸的人民喃喃細語
中國現在最需要休生養息發展經濟
接著轉個身換班飛機
人在台北落地
馬上又手拿一宿圓山美金三百的正義
對右邊的老百姓嘔出心乃矣的呼籲
喂,民主的程序可沒那麼容易
要像蝸牛爬聯合國大廈的階梯
不是一蹴可幾
尤其爾等台灣知識份子
未免幫閒幫得太豈有此理
居然不說一句也可以得到十二年的刑期
外加奉送母女棺木三具
啥鳥子事都沒幹竟然就被當作頭號政敵
夜半三更陳屍莫名其妙的水泥地
如此不費吹灰之力
就撿到人家文革時十億
人口在街頭衝撞了十年
猶求之不得的烈士牌位來供祭
怎不叫自己跳樓的老舍在地下嗟嘆啊
嗟嘆不已
(不過,再容我悄稍說一句:
為了顯示你民胞物與的大慈大悲
前往赤貧千年的大陸請自備旅費
回歸外匯存底四百億的鄉里
請大方的享用台灣人胼手胝足的
萬萬稅)
所以此時
當你問我有關學術良知的問題
我姑且冒險這樣回答你
一切都是為了美麗
一切都是為了馬屁
所以我們把芬芳的核子花朵插遍台灣的每一寸土地
所以我們把精采的民主荒謬劇演到地老天荒海水倒灌
所以我們把詭譎的政治雙人舞跳得你中有我我中沒你
所以我們把不世出的文學名著寫得面目模糊善惡齊一非常非常的超現實
所以我們把沒有譜的歌曲唱得陶陶然忘了已經是二十世紀
所以我們把野獸派的繪畫塗抹得更加沒有一絲人性的痕跡
所以在政治學上
我們有一大批博士級的國際食客
隨時準備為大有為的政府舔拭沾滿糞便的屁股
所以在新聞上
我們有天天過愚人節經年累月樂此不疲非常非常幽默的編輯
故意顛倒是非替大家在悲苦的人生旅途增添一點小小的樂趣
所以在語言學上
我們有語多滿腹死書的教授主張撲滅祖先古典的語言
好讓中文系的聲韻學可以獨佔熬頭增加賣座
所以在人類學上
我們發明一種新貴族可以生活在一個
沒有土地沒有人民沒有過去沒有未來也沒有現在的五度空間裡
所以在精神醫學上
我們提供一個舉世無匹的病例任憑全國醫師費盡心力
也無法治癒一個患者把一個口號喊了四十年的言言自語兼自閉
所以在歷史學上
我們製造前無古人後無來者的斷代史
根本不用資料更無需證據
但是孩子
不要洩氣
須知
道也者
古人也是各取所需
無政府主義的李耳說:可以言傳的道不是道
虛無主義的莊周說:道在大便小便裡
自然主義的荀卿說:道不會因為好總統而存在
         也不會因為壞總統而死寂
悲觀主義的釋迦牟尼說:道是不可說底
所以難怪個人主義的楊朱要哭倒在分歧的十字路口
所以難怪現象主義的孔仲尼要大呼道不同不相為謀
所以難怪存在主義的我
著實不敢自僭居真理的寶座
但是孩子
不要著急
仲尼像我這個年紀
也還為這些問題迷惑困慮
所以孩子
請不要
不要期望我拿什麼金玉珠璣回贈你
更何況
那仲尼可以自收束脩招攬補習沒人敢取締
而我
我還得每年夏如大旱之望雲霓
窮擔心
擔心聘書啊聘書
你在那裡
所以孩子
請回到我的專技
不要
不要涉及現實的問題
我會告訴你如何欣賞物理學上的對稱與和諧之美
我會引領你如何跟越科學的國界征服崇高的諾貝爾山脈
我會展示你如何利用文學的特技攀班他幾個大獎擺在客廳自娛
我會教導你如何演算數學的邏輯大量騙取人民血汗的積蕫
我會傳授你如何設計十六位元的電腦天衣無線的控制作票的機器
我更會指導你如何操作精密的天文儀器把焦距放射到縹縹渺渺的太虛
專心一意的觀多麼純多麼亮麗的星體
絕不要
不要把精力浪費在地面上那些齷齪的人類危機

一定
一定會傾囊相授與你
以便讓你
即使沒有充實的大腦來思索你那些撈什子的東西
也不必
不必著一個空虛的肚子終日惶惶栖栖
拼足馬力追趕長了四條腿的錢幣
道德經早有明訓:
聖人虛其心而實其腹
或許
或許腦也空空肚子咚咚
才是我們存在最本分的目的
所以孩子
請不要--
啊,不要嗤之以鼻
嘲笑我們的鐘點費
怎麼
怎麼還不如一個剃頭女郎的
一節馬殺雞

The File: A Personal History By Timothy Garton Ash,梁文道文集

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  1. 1980年,加頓艾什(Timothy Garton Ash)還是一個在東柏林當交換生的英國青年。有天晚上,他和當時的女友安德莉一起躺在床上,忽然她站了起來,把衣服脫光,走到面對街道的窗戶旁邊拉開窗簾,接着又開了足以點亮整個房間的大燈,然後才回到床上。這個舉動似乎沒有什麼太深的含義,頂多是年青人那種沒來由的浪漫罷了。可是近二十年後,已在牛津大學教授歷史,同時替英國各式報刊撰寫評論及報道的加頓艾什卻對這件小小的往事產生了不同的看法。他懷疑安德莉其實是「德意志民主共和國」安插在他身邊的線人;她那天晚上脫衣服開窗簾,為的是要方便外頭的同伙拍照。
    他之所以生起這種疑慮,是因為他看到了當年東德國安局(Ministerium für Staatssicherheit,簡稱MfS,更常為人所知的是其俗稱『史塔西』Stasi)的一份檔案。這份檔案的封面蓋着「OPK」三個字母,意思是「作戰性個人管制檔案」(Operative Personenkontrolle)。而「作戰性個人管制」,根據東德的《政治作戰工作辭典》(德國人對任何事物都能給出精確定義,就連情報工作也不例外,所以才會有這麼古怪的辭典),它的意思是「辨識可能違反刑法,可能抱持敵意負面態度,或可能被敵人基於敵對目的而利用的人」;此類管制的目的,最簡單的講法,就是要回答「誰是誰」的問題。關於加頓艾什的「作戰性個人管制檔案」,就是這個問題的答案。類似加頓艾什手上這樣的檔案還有很多,連文件架豎排起來,可以長達18千米。這也難怪,「史塔西」大概是人類史上網絡發展得最龐大也最嚴密的國安機構,其正式僱員就有九萬七千人,非在職的線民更有十七萬三千人。若以當時的東德人口估算,平均每五十個成年人當中,就有一個和史塔西相關,若非直接替它工作,便是間接為它服務。這等規模,不只蘇聯的KGB比不上,便連納粹時代的蓋世太保也要自嘆不如。用今天的話講,東德的「維穩」系統實在堪稱完善,至少在理論上說,它應該很清楚每一個國民「誰是誰」,知道他們在幹什麼想什麼。饒是如此,最後它也還是迴避不了傾覆的命運,這是不是一個教訓呢?這個教訓的第一個意義是再鉅細無遺的維穩體系也無法挽救一個腐敗的體制(『史塔西』當然知道東德的腐敗,它的頭目梅爾克便曾親口對下屬憤怒地指出『德意志民主共和國是最腐敗的』);它的第二個意義是原來東德幹得還不夠出色,它們的工作應該要再聰明一些細緻一些才對。至於哪一個教訓更加重要,這就得看你是誰了。說來奇怪,雖然「史塔西」清楚東德的腐敗;但它好像沒有意識到自己就是造成腐敗的原因之一,而且它所造成的腐敗還是比普通的權錢交易更加深層的腐敗。那種腐敗就是人際關係與人心的腐敗。
    東德垮台之際,柏林有一大群市民衝向國安部大樓,想要佔領這座掌握一切國民資訊因而也叫一切國民恐懼的建築。建築裏頭則是一群手忙腳亂的特工,他們正趕着銷毀最機密材料。不知是幸抑或不幸,絕大部份檔案都被留了下來,現歸「高克機構」(Gauck authority)管理。這個機構負責保存和分類「史塔西」留下來的文件,允許所有前東德國民調閱有關自己的檔案。
    後果顯然易見,一百多萬人提出申請,想要看看「史塔西」有沒有關於自己的檔案,其中又有近五十萬人確實看到了這種材料。在這些材料當中,他們就像看老日記似地重新發現了自己,並且是人家眼中的自己。所謂「人家」,指的是他們的同事、同學、鄰居、朋友、親人,乃至於最親密的伴侶。於是有學者失去教職,因為他曾在過去向當局舉報同行,害得後者失業;有人被迫遷居,因為他曾偷窺狂似地監視鄰家的一舉一動;有些人離婚,因為他的另一半正是當年害他坐牢的「史塔西」線人;更有些人自殺,因為他們的子女發現自己竟然被父母出賣,自此斷絕關係。
    在這種情形底下,加頓艾什懷疑自己的前度女友,實是情有可原。那時他正在牛津攻讀史學博士,論文題目是第三帝國時期柏林市民的日常生活,為了搜集資料前赴東柏林留學。等他到了之後,便發現歷史即在眼前,遂把關注範圍移向當代。後來他以研究和評論德國及中歐事務聞名,得知「史塔西」密檔公開,自然想要回來查看自己是否屬於「作戰性個人管制」的範疇,同時加深瞭解他所喜愛的德國。取得檔案,他以熟練記者的技巧逐一回訪監視過他的線人(也就是他當年的朋友),和負責那些線人的「史塔西」官員;又以歷史學家的素養細心檢索相關文獻,解釋其中的出入與歧義。這趟使人不安的回溯之旅,《檔案》(The File)是這本書的主線。它是本奇怪的自傳,在自己的日記和記憶,以及他人的報告筆錄之間來回。它又是本微觀史述,恰如加頓艾什自言,為那個前所未見的系統,和在它管轄下的社會「開了一道窗口」,令讀者得以稍稍掂量「警察國家」這四個字的實際分量。
    不難想像這本書以及其他一切近似體驗當中的情緒:發現事實之後的震驚,被出賣之後的痛苦,被背叛之後的不信任,被揭發之後的沮喪、自責與否認。所以很多德國人都說夠了,應該停止「高克機構」的檔案公開工作,它已經毀掉了太多太多人的生活,工作和關係,過去的且讓它過去,歷史的傷口就留待遺忘來修復好了。不過,這並不是今日德國人做事的風格,何況這是個在短短幾十年內經歷過兩次恐怖統治的國家。包括加頓艾什在內的許多學者都認為,東德之所以能夠建立起如此驚人的秘密警察系統,是因為它有一個在納粹時代打下的告密文化基礎,所以德國不認真清算自己的歷史是不行的。中國人總是喜歡比較德國和日本,誇獎前者坦白對待納粹的歷史,卻又總是有意無意地忽略了他們近二十年來在處理東德歷史上的細緻和徹底。
    與其抱怨「高克機構」的做法過火,不如想想這一切問題的源頭。難道沒有它,前東德的百姓就會繼續擁有一個比較健康的生活嗎?不,他們很可能只會繼續猜疑下去。就像書裏頭一個老頭的告白:「至少我知道怎麼寫遺囑了。我原本以為我的女婿在背後打我的小報告,所以一直告訴自己:我要是把房子留給他,就罪該萬死。但是現在我知道我還是該留給他了」。除了這個老人,當年到底還有多少人懷疑過自己身邊的人呢?這種事情並不是你不把它挖清楚就會不存在的。「史塔西」的存在正如所有對付自己國民的秘密警察,既秘密又顯眼,它以秘密的行動公然宣示自己的力量,如此方能在人人心上種下恐懼的種子。恐懼,乃是這種體制的基石。它的雙重性質要求國民也要以雙重態度來對待它,在表面上愛它愛得要死,在心裏則怕它怕得要死。結果是一群表裏不一,心中多疑,彼此提防的原子化個體;這就是它的深層腐敗,東德政權大廈的散砂地基。




  2. Timothy Garton Ash
    Historian
  3. Timothy Garton Ash CMG FRSA is a British historian, author and commentator. He is Professor of European Studies at Oxford University. Much of his work has been concerned with the late modern and contemporary history of Central and Eastern Europe. Wikipedia
  4. BornJuly 12, 1955 (age 60), London, United Kingdom

What Bukowski taught us about life in nine quotes

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In the early 1980s, Crumb collaborated with writer Charles Bukowski on a series of comic books, featuring Crumb's art and Bukowski's writing.

查理·布考斯基 (英文:Henry Charles Bukowski,1920年8月16日-1994年3月9日),德裔美國詩人,小說家和短篇小說家。Bukowski的寫作風格嚴重的受到了他在洛杉磯家鄉的地理和氣氛的影響,特點是側重於描寫生活處於社會邊緣地位的貧困美國人、寫作行為、酒、與女人的交往、苦工的工作和賽馬。他的作品很多,有數以千計的詩,數以百計的小故事和6篇小說,最終擁有60多本圖書出版。1986年,《時代周刊》稱他為一個「美國下層階級的桂冠詩人」(laureate of American lowlife) 。 [4]



Happy birthday, Charles Bukowski!
These were chosen by you.

In honour of Charles Bukowski’s birthday, BBC Culture asked readers to share their favourite lines by the author.
BBC.COM


「蝗蟲效應」

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蝗蟲效應,就是指像蝗蟲一樣,看到好處利益一窩蜂湧上,好處完了直接飛走,留下一片狼藉的攤子,這種只顧眼前利益,不顧長遠發展的利益的行為效應叫做蝗蟲效應。


本書「蝗蟲效應」談一個看似與我們並無多大關係,但實際上卻是存在於我們身邊,曾經發生過,而且不能保證將來不會再度現身的悲慘世界。兩位作者都在芝加哥大學法學院任教,而且都參與了企圖改變開發中國家刑事司法制度運作的非官方組織。他們寫下了觀察所得,也企圖揭開成功的序幕。
「蝗蟲效應」一書從1994年發生在盧安達的集團暴力屠殺事件談起。小教堂內的被害人幾乎都是被砍刀斬殺的。男人、女人、老人、幼童,都是些赤貧之人。之後,本書花了將近一半的篇幅詳述了在開發中國家中發生的許多悲慘犯罪結果。
這些敘述都僅是為了說服讀者一件殘酷的事實。全世界有近二十億的赤貧階級,不管其多麼努力想改變自己的處境,也不管國際社會投入多少資源,透過糧食供應、醫療的提供、教育體制的改革等企圖改變現狀,只要沒有公共的刑事司法制度的保障,日常化的掠奪、性侵、人口販賣、奴役的拘禁等暴力犯罪,將會剝奪所有在福利、醫療、教育方面的援助所達成的效果。這種蔓延的、日常化的暴力犯罪,就像群聚的蝗蟲災害一樣,一旦發生,所有的生機都會停頓。這些赤貧的二十幾億人,他們受不了任何的摧殘,而且受殘害後,幾乎是無法復原。
作者進一步研究,為何這些開發中國家的刑事司法制度會如此地功能不彰。根據其研究發現,帝國殖民時代所創設的現代刑事司法制度,其本意並不是為了保障被殖民者的權利,而僅是用來確保殖民者權益的制度。其後,取代殖民者地位的本土社會菁英顯然也會沿用以往的制度而企圖確保其政經社地位。再者,經濟的發達造成了貧富上的不均,私人的保全制度日益發達,菁英份子溫飽之餘,當然不會願意資助公共司法的建設,於是公權力的司法機關日益衰敗,毫無起色。尤有甚者,菁英份子更是利用了功能不彰的公共司法而進一步剝削窮人藉此獲利。
雖然作者不斷強調刑事司法的保障是確保所有援助功效的前提要件,但是事實上國際援助幾乎都不重視這個領域。表面上,刑事司法的執行本身就是個暴力犯罪;再者,先進國家中透過刑事司法所展開的嚴罰政策,其本身就對貧困階級不利;此外,刑事司法的執行沒有降低暴力犯罪的效能,硬要強化無效的刑事司法,則最後可能會影響到對其他救貧計畫的資源投入;這些都是國際組織不願意介入開發中國家刑事司法制度改革的原因。事實上,先進國家投資以及協助的司法改革僅限於國際性犯罪的預防,例如毒品、恐怖活動的防制,以及透明商業機制的建設等;這些都是以不干預內國國權活動的名義下進行的活動,但是其本質不外是先進國家僅援助對其本國有利的他國刑事司法制度改革而已。
二十世紀被謂為國際人權的世紀,而放諸四海皆準的人權保障,都是透過三個階段而被實現的。此即,宣言、具有約束力的公約與實現的具體計畫。1948年的世界人權宣言、二十年後六零年代的兩公約以及公約的國內法化,均實現了前兩個階段的要求,不過在最後一個階段,卻遭受到頓挫。
作者於本書的最後展現了最後一個階段的黎明曙光,其舉出許多成功的例子說明了前進兩步退後一步的荊棘進步。然而,果真前途就是如此地光明?
本書沒有提及台灣,或許作者並不認為台灣是正值司法改革的開發中國家,也或許作者並不認為台灣是個值得重視的國家。但是,不斷被殖民且企圖克服殖民的台灣、面臨兩公約的落實困境的台灣、缺乏最後踢出臨門一腳的社會菁英的台灣,縱然局勢不似本書所描述的非洲、南亞等國家般地悲慘,難道不是個歷經諸階段改革,但是卻在每個改革的階段都留下遺憾的國度?本書所論及的局勢貌似與台灣無關,但是點點滴滴都留下一些反省的材料。

George Orwell : Animal Farm (1945)...

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70 years ago today, George Orwell first published ‘Animal Farm’
Here is an excerpt from a letter from Orwell to Dwight Macdonald soon after:

Of course I intended it primarily as a satire on the Russian revolution. But I did mean it to have a wider application in so much that I meant that...
NYBOOKS.COM


Of course I intended it primarily as a satire on the Russian revolution. But I did mean it to have a wider application in so much that I meant that that kind of revolution (violent conspiratorial revolution, led by unconsciously power-hungry people) can only lead to a change of masters. I meant the moral to be that revolutions only effect a radical improvement when the masses are alert and know how to chuck out their leaders as soon as the latter have done their job. The turning-point of the story was supposed to be when the pigs kept the milk and apples for themselves (Kronstadt). If the other animals had had the sense to put their foot down then, it would have been all right. If people think I am defending the status quo, that is, I think, because they have grown pessimistic and assume that there is no alternative except dictatorship or laissez-faire capitalism.



For George Orwell’s birthday, here’s a timeline of his classic novel “Animal Farm.”



Cover of Snowball’s Chance, 2002. Cover of Why Orwell Matters, 2002. Timeline to this Timeline September 9, 2001, I’m walking down Lafayette Street with my wife. We’re close to my apartment, with the Tribeca sky,...
THEPARISREVIEW.ORG|由 JOHN REED 上傳




It is now 65 years since George Orwell died, and he has never been bigger. His phrases are on our lips, his ideas are in our heads, his warnings have come true. How did this happen?



It is now 65 years since George Orwell died, and he has never been bigger. His phrases are on our lips, his ideas are in our heads, his warnings have come true. How did this happen?  To read this story, and more from Intelligent Life, download the new issue on iPad, iPhone or Android through our free app via http://econ.st/1zV50si



我生平第一本英文小說,是George Orwell Animal Farm (1945)。那時 (1968),似乎有梁實秋先生的《百獸圖》譯本,不過,由於省立台中圖書館有原文書,我就"不知不覺"讀完它。當時,我不會在意各翻譯本之比較,而是「得魚忘筌」。.
幾十年之後,我的朋友Peter去讀學士後法律課程,課程中,老師要大家討論書中的聰明豬與百獸的約定,算的上農場的「憲法」嗎?.
2011年讀George Orwell 書信,他希望將Animal Farm此處改一下,為眾牲都大驚失色,惟拿破侖處之泰然…….”…..因為史達林 (J.S.) 當時並沒離開莫斯科…….
2014.9.24 
今日是香港學生舉行為期一周的罷課活動的第二天,學生們坐在香港政府附近的區域聆聽有關民主和公民社會的演講。
在香港嶺南大學教授歷史的David Lloyd Smith做了有關喬治•奧威爾(George Orwell)的演講并將香港的民主發展比作朝鮮,朝鮮有正式的普選,但只有經過政府審查的人才能參選。
現年21歲、就讀香港科技大學(Hong Kong University of Science and Technology)商業專業的學生Christine Tong說,有關喬治•奧威爾的演講引起了她的共鳴。她說,香港政府就好比《動物莊園》(Animal Farm)裡的豬,利用自己的權力來壓制其他動物,違背自己的原則。
另一場關於莫罕達斯•甘地(Mohandas Gandhi)和公民抗命的演講也吸引了學生以及其他一些佩戴黃絲帶、支持“佔中”運動的人。


Animal Farm was the first animated film made by the British film industry in 1954. But what nobody realised at the time, least of all the producers, was that the film was financed by the CIA as part of the Cold War effort...
Listen to The Film Programme: http://bbc.in/1wOW7MU

Fashion designer Agnes B discusses her directorial debut My Name Is Hmmm...
BBC.IN

George Orwell
1945
When Animal Farm was published in 1945, its British author George Orwell (a pseudonym for Eric Arthur Blair) had already waited a year and a half to see his manuscript in print. Because the book criticized the Soviet Union, one of England's allies in World War II, publication was delayed until the war ended. It was an immediate success as the first edition sold out in a month, nine foreign editions had appeared by the next year, and the American Book-of-the-Month Club edition sold more than a half-million copies. Although Orwell was an experienced columnist and essayist as well as the author of nine published books, nothing could have prepared him for the success of this short novel, so brief he had considered self-publishing it as a pamphlet. The novel brought together important themes — politics, truth, and class conflict — that had concerned Orwell for much of his life. Using allegory — the weapon used by political satirists of the past, including Voltaire and Swift — Orwell made his political statement in a twentieth-century fable that could be read as an entertaining story about animals or, on a deeper level, a savage attack on the misuse of political power. While Orwell wrote Animal Farm as a pointed criticism of Stalinist Russia, reviews of the book on the fiftieth-anniversary of its publication declared its message to be still relevant. In a play on the famous line from the book, "Some animals are more equal than others," an Economist reviewer wrote, "Some classics are more equal than others," and as proof he noted that Animal Farm has never been out of
print since it was first published and continues to sell well year after year.

George Orwell’s Animal FarmIllustrated by Ralph Steadman

by 
“I do not wish to comment on the work; if it does not speak for itself, it is a failure.”
In 1995, more than twenty years after hisirreverent illustrations for Alice in Wonderland, the beloved British cartoonistRalph Steadman put his singular twist on a very different kind of literary beast, one of the most controversial books ever published. To commemorate the 50th anniversary of the first American publication of George Orwell’s masterpiece, which by that point had sold millions of copies around the world in more than seventy languages, Steadman illustrated a special edition titled Animal Farm: A Fairy Story (public library), featuring 100 of his unmistakable full-color and halftone illustrations.
Accompanying Steadman’s illustrations is Orwell’s proposed but unpublished preface to the original edition, titled “The Freedom of the Press” — a critique of how the media’s fear of public opinion ends up drowning out the central responsibility of journalism. Though aimed at European publishers’ self-censorship regarding Animal Farm at the time, Orwell’s words ring with astounding prescience and timeliness in our present era of people-pleasing “content” that passes for journalism:
The chief danger to freedom of thought and speech at this moment is not the direct interference of … any official body. If publishers and editors exert themselves to keep certain topics out of print, it is not because they are frightened of prosecution but because they are frightened of public opinion. In this country intellectual cowardice is the worst enemy a writer or journalist has to face.

Portrait of George Orwell by Ralph Steadman
Alas, this exquisite edition is no longer in print, but I was able to track down a surviving copy and offer a taste of Steadman’s genius for our shared delight.
Also included is Orwell’s preface to the 1947 Ukrainian edition, equally timely today for obvious geopolitical reasons. In it, he writes:
I understood, more clearly than ever, the negative influence of the Soviet myth upon the western Socialist movement.
And here I must pause to describe my attitude to the Soviet régime.
I have never visited Russia and my knowledge of it consists only of what can be learned by reading books and newspapers. Even if I had the power, I would not wish to interfere in Soviet domestic affairs: I would not condemn Stalin and his associates merely for their barbaric and undemocratic methods. It is quite possible that, even with the best intentions, they could not have acted otherwise under the conditions prevailing there.
But on the other hand it was of the utmost importance to me that people in Western Europe should see the Soviet régime for what it really was…
I have been convinced that the destruction of the Soviet myth was essential if we wanted a revival of the Socialist movement.
Orwell concludes with a note on his often misconstrued intent with the book’s ultimate message:
I do not wish to comment on the work; if it does not speak for itself, it is a failure. But I should like to emphasize two points: first, that although the various episodes are taken from the actual history of the Russian Revolution, they are dealt with schematically and their chronological order is changed; this was necessary for the symmetry of the story. The second point has been missed by most critics, possibly because I did not emphasize it sufficiently. A number of readers may finish the book with the impression that it ends in the complete reconciliation of the pigs and the humans. That was not my intention; on the contrary I meant it to end on a loud note of discord, for I wrote it immediately after the Teheran Conference which everybody thought had established the best possible relations between the USSR and the West. I personally did not believe that such good relations would last long; and, as events have shown, I wasn’t far wrong.
Steadman’s Animal Farm: A Fairy Story is spectacular in its entirety, should you be so fortunate to snag a used copy. Complement it with his illustrated edition of Alice in Wonderland and his inkblot dog drawings, then be sure to take a closer look at Orwell’s “The Freedom of the Press.”
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For Wallace Stevens, Hartford as Muse 最高虛構筆記The Idea of Order at Key West

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The Idea of Order at Key West

  by Wallace Stevens



She sang beyond the genius of the sea.
The water never formed to mind or voice,
Like a body wholly body, fluttering
Its empty sleeves; and yet its mimic motion
Made constant cry, caused constantly a cry,
That was not ours although we understood,
Inhuman, of the veritable ocean.

The sea was not a mask. No more was she.
The song and water were not medleyed sound
Even if what she sang was what she heard.
Since what she sang was uttered word by word.
It may be that in all her phrases stirred
The grinding water and the gasping wind;
But it was she and not the sea we heard.

For she was the maker of the song she sang.
The ever-hooded, tragic-gestured sea
Was merely a place by which she walked to sing.
Whose spirit is this? we said, because we knew
It was the spirit that we sought and knew
That we should ask this often as she sang.

If it was only the dark voice of the sea
That rose, or even colored by many waves;
If it was only the outer voice of sky
And cloud, of the sunken coral water-walled,
However clear, it would have been deep air,
The heaving speech of air, a summer sound
Repeated in a summer without end
And sound alone. But it was more than that,
More even than her voice, and ours, among
The meaningless plungings of water and the wind,
Theatrical distances, bronze shadows heaped
On high horizons, mountainous atmospheres
Of sky and sea.
It was her voice that made
The sky acutest at its vanishing.
She measured to the hour its solitude.
She was the single artificer of the world
In which she sang. And when she sang, the sea,
Whatever self it had, became the self
That was her song, for she was the maker. Then we,
As we beheld her striding there alone,
Knew that there never was a world for her
Except the one she sang and, singing, made.

Ramon Fernandez, tell me, if you know,
Why, when the singing ended and we turned
Toward the town, tell why the glassy lights,
The lights in the fishing boats at anchor there,
As night descended, tilting in the air,
Mastered the night and portioned out the sea,
Fixing emblazoned zones and fiery poles,
Arranging, deepening, enchanting night.

Oh! Blessed rage for order, pale Ramon,
The maker's rage to order words of the sea,
Words of the fragrant portals, dimly-starred,
And of ourselves and of our origins,
In ghostlier demarcations, keener sounds.
- See more at: http://www.poets.org/viewmedia.php/prmMID/15749#sthash.3IUW7AoS.dpuf

Yale University Press 新增了 1 張相片。
Yale University Press 的相片。




The Idea of Order at Key West by Wallace Stevens
 
She sang beyond the genius of the sea.
The water never formed to mind or voice,
Like a body wholly body, fluttering
Its empty sleeves; and yet its mimic motion
Made constant cry, caused constantly a cry,
That was not ours although we understood,
Inhuman, of the veritable ocean.

The sea was not a mask. No more was she.
The song and water were not medleyed sound
Even if what she sang was what she heard.
Since what she sang was uttered word by word.
It may be that in all her phrases stirred
The grinding water and the gasping wind;
But it was she and not the sea we heard.

For she was the maker of the song she sang.
The ever-hooded, tragic-gestured sea
Was merely a place by which she walked to sing.
Whose spirit is this? we said, because we knew
It was the spirit that we sought and knew
That we should ask this often as she sang.

If it was only the dark voice of the sea
That rose, or even colored by many waves;
If it was only the outer voice of sky
And cloud, of the sunken coral water-walled,
However clear, it would have been deep air,
The heaving speech of air, a summer sound
Repeated in a summer without end And sound alone.
But it was more than that,
More even than her voice, and ours, among
The meaningless plungings of water and the wind,
Theatrical distances, bronze shadows heaped
On high horizons, mountainous atmospheres
Of sky and sea.
                    It was her voice that made
The sky acutest at its vanishing.
She measured to the hour its solitude.
She was the single artificer of the world In which she sang.
And when she sang, the sea,
Whatever self it had, became the self
That was her song, for she was the maker.
Then we, As we beheld her striding there alone,
Knew that there never was a world for her
Except the one she sang and, singing, made.
Ramon Fernandez, tell me, if you know,
Why, when the singing ended and we turned
Toward the town, tell why the glassy lights,
The lights in the fishing boats at anchor there,
As night descended, tilting in the air,
Mastered the night and portioned out the sea,
Fixing emblazoned zones and fiery poles,
Arranging, deepening, enchanting night.
Oh! Blessed rage for order, pale Ramon,
The maker's rage to order words of the sea,
Words of the fragrant portals, dimly-starred,
And of ourselves and of our origins,
In ghostlier demarcations, keener sounds.

- See more at: http://www.poets.org/viewmedia.php/prmMID/15749#sthash.3IUW7AoS.dpuf
The Idea of Order at Key West- Poets.org - Poetry, Poems, Bios & More   有朗誦
www.poets.org/viewmedia.php/prmMID/15749‎The Idea of Order at Key West. by Wallace Stevens. She sang beyond the genius of the sea. The water never formed to mind or voice, Like a body wholly body, ...

The Idea of Order at Key West - Wikipedia, the free encyclopedia

 



史蒂文斯《基韋斯特的秩序意念》
張曼儀譯
       

基韋斯特的秩序意念

她的歌唱超越了大海之靈。

海水從不在腦際或聲音裏成形,

像身體之為身體,飄拂著

虛袖;可它模擬的動作

時刻在呼叫,無時無刻不引起呼叫,

雖然叫人聽懂,卻不屬於我們,

不是人類的,是真確的海洋之音哪。

大海不是一個面具,她也入詩。

歌曲和水聲並不是駁雜無章

即使她聽到什麼唱什麼,

因為她一字一句唱出口。

也許字裏行間翻動著

翻轉的水和呼嘯的風;

入耳的可是她的歌,不是海濤。

她唱的歌曲是她創造的。

蒙頭遮臉、呼天搶地的海洋

只是她沿岸漫步低唱的地方。

這是誰的神靈?深知那是

我們追尋的神靈才有此一問,

她一邊唱,還得以此一再相問。

假如只是大海陰沉的聲音

升起,或是甚至給千萬波濤渲染;

假如只是沉珊瑚給水牆圍著,

與及穹蒼白雲的天外之音,

儘管清越,也只是深沉氣流,

籲氣呼呼的風之言語,綿綿無盡的

長夏裏重複長夏的聲音,而且

只是聲音而已。可是不止這樣吧,

不止她的聲音,我們的聲音,

在海和風無聊的奔躍之間,

戲劇性的距離,青銅影子重疊於

高高的地平線,嶺色山嵐

縈繞天和海。

是她的聲音叫

天光消退時顯得最鮮明,

給時日量度暗換的寂寥。

她是她歌中之境的唯一

塑造者。她歌唱的時候,海洋,

不管有我無我,變成了

她歌中之我,因為她是創造者。於是

我們目睹她獨個兒怡然舉步,

領悟到她心中一無所有,只有

歌中之境,締造於歌唱之中。


雷蒙弗南戴,你知道就告訴我吧,

為什麼一曲既終,我們轉過身

面向城裏,告訴我為什麼閃爍的燈火

——停泊這裏的漁船上的燈火,

夜幕低垂以後,在空中傾斜——

雄踞了黑夜,平分了海洋,

厘定了明亮的地帶和熾熱的兩級,

擺佈著、深化著、魅惑著黑夜。

可憐的雷蒙,尋求秩序天賜的狂熱啊!


創造者的狂熱,為了把海的字句,

芬芳之門、星光隱約的字句排成秩序,

為了給我們自己、我們的出處,

更陰森的界限,更銳利的聲音。






Wallace Stevens - Wikiquote

en.wikiquote.org/wiki/Wallace_Stevens - Cached
[edit] Notes Toward a Supreme Fiction (1942). Begin, ephebe, by perceiving the idea Of this invention, this invented world, The inconceivable idea of the sun.

最高虚构笔记

 最高虛構筆記   副標題: 史蒂文斯詩文集 
作者: (美)華萊士·史蒂文斯 Wallace Stevens   譯者: 陳東飚 / 張棗出版社: 華東師範大學出版社,出版年: 2009, 頁數: 402

 華萊士·史蒂文斯是美國現代最重要的詩人之一。同時也是一位非常重要的詩論家,在這本隨筆評論集中,史蒂文斯反复說明他的關於想像與現實關係的觀點,探索藝術與自然的關係。作者簡介 · · · · · ·

1879年10月2日,華萊士-史蒂文斯(Wallace Stevens)出生於美國賓夕法尼亞州的雷丁市。大學時就讀於哈佛,後在紐約法學院獲法律學位。 1904 年取得律師資格後,在康涅狄格州就業於哈特福德意外事故保險公司,1934 年就任副總裁。


1914年11月,《詩歌》雜誌社的哈里特-門羅將史蒂文斯的四首詩刊登在戰時特輯裡,從此在法律和商務圈之外,史蒂文斯就開始有了另一個身分。他的第一本詩集《風琴》,在1923 年出版,流露出英國浪漫主義和法國符號學派對他的影響,顯示了他對審美哲學的傾向,還有一種完全原始的風格和感覺:異乎尋常、想入非非,浸透著印象主義繪畫的色彩光亮。與其他現代詩人相比,史蒂文斯更為關注想像的轉換能力。他在上下班的途中,或在晚上構思他的詩歌,史蒂文斯繼續過著在辦公室裡寫字台上的日子,生活平靜安祥。


雖然如今被公認為二十世紀主要的美國詩人之一,但史蒂文斯直到他臨死的前一年才得以出版他的《詩集》,此後他才得到了廣泛的承認。他的主要作品有:《秩序觀念》 (1935),《拿藍色吉它的人》 (1937),《超小說筆記》 (1942),論詩歌文論集《必要的天使》。1955年,華萊士-史蒂文斯在美國康涅狄格州首府哈特福德市去世。


史蒂文斯視寫作為純然私人的興趣,因此終生不與文學界人士往還。


在美國現代詩壇裡,以一個保險公司的高級職員,在遠離紐約的文藝界的康州小鎮上居住,卻意外地讓自己的名字寫進了文學史裡。


 Notes Towards a Supreme Fiction

To Henry Church

And for what, except for you, do I feel love?
Do I press the extremest book of the wisest man
Close to me, hidden in me day and night?
In the uncertain light of single, certain truth,
Equal in living changingness to the light
In which I meet you, in which we sit at rest,
For a moment in the central of or being,
The vivid transparence that you bring is peace.

[...]
It Must be Abstract

I

Begin, ephebe, by perceiving the idea
Of this invention, this invented world,
The inconceivable idea of the sun.

You must become an ignorant man again
And see the sun again with an ignorant eye
And see it clearly in the idea of it.

Never suppose an inventing mind as source
Of this idea nor for that mind compose
A voluminous master folded in his fire.

How clean the sun when seen in its idea,
Washed in the remotest cleanliness of a heaven
That has expelled us and our images . . .

The death of one god is the death of all.
Let purple Phoebus lie in umber harvest,
Let Phoebus slumber and die in autumn umber,

Phoebus is dead, ephebe. But Phoebus was
A name for something that never could be named.
There was a project for the sun and is.

There is a project for the sun. The sun
Must bear no name, gold flourisher, but be
In the difficulty of what it is to be.


II

It is the celestial ennui of apartments
That sends us back to the first idea, the quick
Of this invention; and yet so poisonous

Are the ravishments of truth, so fatal to
The truth itself, the first idea becomes
A hermit in a poet’s metaphors,

Who comes and goes and comes and goes all day.
May there be an ennui of the first idea?
What else, prodigious scholar, should there be?

The monastic man is an artist. The philosopher
Appoints man’s place in music, say, today.
But the priest desires. The philosopher desires.

And not to have is the beginning of desire.
To have what is not is its ancient cycle.
It is desire at the end of winter, when

It observes the effortless weather turning blue
And sees the myosotis on its bush.
Being virile, it hears the calendar hymn.

It knows that what it has is what is not
And throws it away like a thing of another time
As the morning throws off stale moonlight and shabby sleep.

[...]

III

The poem refreshes life so that we share,
For a moment, the first idea . . . It satisfies
Belief in an immaculate beginning

And sends us, winged by an unconscious will,
To an immaculate end. We move between these points:
From that ever-early candor to its late plural

And the candor of them is the strong exhilaration
Of what we feel from what we think, of thought
Beating in the heart, as if blood newly came,

An elixir, an excitation, a pure power.
The poem, through candor, brings back a power again
That gives a candid kind to everything.

We say: at night an Arabian in my room,
With his damned hoobla-hoobla-hoobla-how,
Inscribes a primitive astronomy

Across the unscrawled fores the future casts
And throws his stars around the floor. By day
The wood-dove used to chant his hoobla-hoo

And still the grossest iridescence of ocean
Howls hoo and rises and howls hoo and falls.
Life’s nonsense pierces us with strange relation.


IV

The first idea was not our own. Adam
In Eden was the father of Descartes
And Eve made air the mirror of herself,

Of her sons and of her daughters. They found themselves
In heaven as in a glass; a second earth;
And in the earth itself they found a green–

The inhabitants of a very varnished green.
But the first idea was not to shape the clouds
In imitation. The clouds preceded us

There was a muddy center before we breathed.
There was a myth before the myth began,
Venerable and articulate and complete.

From this the poem springs: that we live in a place
That is not our own and, much more, not ourselves
And hard it is in spite of blazoned days.

We are the mimics. Clouds are pedagogues.
The air is not a mirror but bare board,
Coulisse bright-dark, tragic chiaroscuro

And comic color of the rose, in which
Abysmal instruments make sounds like pips
Of the sweeping meanings that we add to them.




V

The lion roars at the enraging desert,
Reddens the sand with his red-colored noise,
Defies red emptiness to evolve his match,

Master by foot and jaws and by the mane,
Most supple challenger. The elephant
Breaches the darkness of Ceylon with blares,

The glitter-goes on surfaces of tanks,
Shattering velvetest far-away. The bear,
The ponderous cinnamon, snarls in his mountain

At summer thunder and sleeps through winter snow.
But you, ephebe, look from your attic window,
Your mansard with a rented piano. You lie

In silence upon your bed. You clutch the corner
Of the pillow in your hand. You writhe and press
A bitter utterance from your writhing, dumb,

Yet voluble dumb violence. You look
Across the roofs as sigil and as ward
And in your centre mark them and are cowed . . .

These are the heroic children whom time breeds
Against the first idea – to lash the lion,
Caparison elephants, teach bears to juggle.


VI

Not to be realized because not to
Be seen, not to be loved nor hated because
Not to be realized. Weather by Franz Hals,

Brushed up by brushy winds in brushy clouds,
Wetted by blue, colder for white. Not to
Be spoken to, without a roof, without

First fruits, without the virginal of birds,
The dark-brown ceinture loosened, not relinquished.
Gay is, gay was, the gay forsythia

And yellow, yellow thins the Northern blue.
Without a name and nothing to be desired,
If only imagined but imagined well.

My house has changed a little in the sun.
The fragrance of the magnolias comes close,
False flick, false form, but falseness close to kin.

It must be visible, or invisible,
Invisible or visible or both:
A seeing and unseeing in the eye.

The weather and the giant of the weather,
Say the weather, the mere weather, the mere air:
An abstraction blooded, as a man by thought.


VII

It feels good as it is without the giant,
A thinker of the first idea. Perhaps
The truth depends on a walk around the lake,

A composing as the body tires, a stop
To see hepatica, a stop to watch
A definition growing certain and

A wait within that certainty, a rest
In the swags of pine-trees bordering the lake.
Perhaps there are times of inherent excellence,

As when the cock crows on the left and all
Is well, incalculable balances,
At which a kind of Swiss perfection comes

And a familiar music of the machine
Sets up its Schwärmerei, not balances
That we achieve, but balances that happen,

As a man and woman meet and love forthwith.
Perhaps there are moments of awakening,
Extreme, fortuitous, personal, in which

We more than awaken, sit on the edge of sleep,
As on an elevation, and behold
The academies like structures in a mist.

VIII

Can we compose a castle-fortress-home,
Even with the help of Viollet-le-Duc,
And set the MacCullough there as major man?

The first idea is an imagined thing.
The pensive giant prone in violet space
May be the MacCullough, an expedient,

Logos and logic, crystal hypothesis,
Incipit and a form to speak the word
And every latent double in the word,

Beau linguist. But the MacCullough is MacCullough.
It does not follow that major man is man.
If MacCullough himself lay lounging by the sea,

Drowned in its washes, reading in the sound,
About the thinker of the first idea,
He might take habit, whether from wave or phrase,

Or power of the wave, or deepened speech,
Or a leaner being, moving in on him,
Of greater aptitude or apprehension,

As if the waves at last were never broken,
As if the language suddenly, with ease,
Said things it had laboriously spoken.


IX

The romantic intoning, the declaimed clairvoyance
Are parts of apotheosis, appropriate
And of its nature, the idiom thereof.

They differ from reason’s click-clack, its applied
Enflashings. But apotheosis is not
The origin of the major man. He comes,

Compact in invincible foils, from reason,
Lighted at midnight by the studious eye,
Swaddled in revery, the object of

The hum of thoughts evaded in the mind,
Hidden from other thoughts, he that reposes
On a breast forever precious for that touch,

For whom the good of April falls tenderly,
Falls down, the cock-birds calling at the time.
My dame, sing for this person accurate songs.

He is and may be but oh! he is, he is,
This foundling of the infected past, so bright,
So moving in the manner of his hand.

Yet look not at his colored eyes. Give him
No names, Dismiss him from your images.
The hot of him is purest in the heart.


X

The major abstraction is the idea of man
And major man is its exponent, abler
In the abstract than in his singular,

More fecund as principle than particle,
Happy fecundity, flor-abundant force,
In being more than an exception, part,

Though an heroic part, of the commonal.
The major abstraction is the commonal,
The inanimate, difficult visage. Who is it?

What rabbi, grown furious with human wish,
What chieftain, walking by himself, crying
Most miserable, most victorious,

Does not see these separate figures one by one,
And yet see only one, in his old coat,
His slouching pantaloons, beyond the town,

Looking for what was, where it used to be?
Cloudless the morning. It is he. The man
In that old coat, those sagging pantaloons,

It is of him, ephebe, to make, to confect
The final elegance, not to console
Or sanctify, but plainly to propound.


Notes Toward a Supreme Fiction / Wallace Stevens - alt.arts.poetry ...


Excerpts from "Notes Toward a Supreme Fiction" by Wallace Stevens

[Note to "Notes": Find the complete poem here, but preferably if you consider yourself a poet or a creature of culture, you must purchase a copy of the whole harmonium.]
Do I press the extremest book of the wisest man,
Close to me, hidden in day and night?
In the uncertain light of single, certain truth,
Equal in living changingness to the light
In which I meet you, in which we sit at rest,
For a moment in the central of our being....

It Must Be Abstract

I

Begin, ephebe, by perceiving the idea
Of this invention, this invented world,
The inconceivable idea of the sun.

You must become an ignorant man again
And see the sun again with an ignorant eye
And see it clearly in the idea of it....

II

But the priest desires. The philosopher desires.

And not to have is the beginning of desire.
To have what is not is its ancient cycle....

III

The poem refreshes so that we share,
For a moment, the first idea... It satisfies
Belief in an immaculate beginning

And sends us, winged by an unconscious will,
To an immaculate end....

Beating in the heart, as if blood newly came,

An elixir, an excitation, a pure power.
The power, through candor, brings back a power again....

Life's nonsense pierces us with strange relation....

IV

We are the mimics....

Abysmal instruments make sounds like pips
Of the sweeping meanings that we add to them.

V

These are the heroic children whom time breeds
Against the first idea--to lash the lion,
Caparison elephants, teach bears to juggle.

VI

Not to be realized because not to
Be seen...

Without a name and nothing to be desired
If only imagined but imagined well....

It must be visible or invisible
Invisible or visible or both:
A seeing and unseeing in the eye....

An abstraction blooded, as a man by thought.

VII

not balances
That we achieve but balances that happen....

Perhaps there are moments of awakening,
Extreme, fortuitous, personal, in which

We more than awaken....

VIII

reading in the sound,
About the thinker of the first idea,
He might take habit...

moving in on him,
Of greater aptitude and apprehension...

As if the language suddenly, with ease,
Said things it had laboriously spoken.

X

The major abstraction is the idea of man....

What chieftain, walking by himself, crying
Most miserable, most victorious,

Does not see these separate figures, one by one,
And yet see only one...

Looking for what was, where it used to be?
...It is he.

It Must Change

...

It Must Give Pleasure
...












----

to tone, athletic shoe, intoning, burrow into

Footsteps

For Wallace Stevens, Hartford as Muse


Andrew Sullivan for The New York Times

Westerly Terrace, the street where Stevens lived. More Photos »



IN those rare moments when Hartford leaps to mind, I’m guessing that your head does not then turn to watermelon pavilions, a man with a blue guitar, an old sailor catching tigers in red weather or an emperor of ice cream.
Multimedia
A lot of us think of Connecticut’s capital as a generic New England way station between Boston and New York. A decent place to stop for pancakes? Sure. A wildly lyrical geyser of the American imagination? Not so much.
And yet, as I discovered on a recent weekend trip, Hartford could probably rival the Haight-Ashbury district in San Francisco as a wellspring of psychedelic imagery — thanks, in large part, to one man. Hartford is the place where the poet Wallace Stevens spent a substantial portion of his life, and he composed many of his verses — bizarrely exquisite blossoms unlike anything else in the canon of American literature — while migrating back and forth on foot between his comfortable house on Westerly Terrace and his office at an insurance company.
You can, as I did on a Saturday morning, stroll along the commute that helped dislodge the man’s subconscious musings. Thanks to a few advocates from an organization that’s cheekily known as the Friends & Enemies of Wallace Stevens, there is a marked walk that winds along for about 2.4 miles, starting at the white-columned colossus of the Hartford, the insurance giant where one of the most creative men in American letters ascended to the position of vice president, and ending at the white-clapboard house where the Pulitzer Prize winner lived.
Who knew? Hartford is like that: full of surprises.
There are more. Just a few blocks away, on Farmington Avenue, in a 25-room mansion that looks like something from “Downton Abbey: The American Years,” two of the greatest characters in American fiction — Tom Sawyer and Huckleberry Finn — came to life.
Contrary to mythology, Mark Twain did not conjure up his masterpieces while puffing cigars on a Southern riverboat. He wrote them, or at least parts of them, at a table in a third-floor billiard room in his house in Hartford, where he and his family lived for about 17 years. (He also cranked out his books at a summer house in Elmira, N.Y., but either way the slow churn of the Mississippi River was nowhere in sight.)
If there were moments back then when “Sam,” as Hartford locals called him, felt a yearning to procrastinate with a little literary chitchat, he could pay a call on his next-door neighbor, Harriet Beecher Stowe, whose “Uncle Tom’s Cabin” had turned her into the most famous woman in America.
Twain, Stowe, Stevens — does Hartford have Sedona-like cosmic rays of genius passing through it? Are there magic pyramids of Parnassus buried beneath its landlocked streets? Scholars might know all about the city’s pivotal role in the evolution of American literature, but for most of us average readers, this all comes as news.
I called Wilson H. Faude, a Hartford historian who served as the first curator for the Mark Twain House, and told him that this highway stop in the middle of Connecticut seemed to qualify, at least from a literary standpoint, as a pretty important place.
“Bingo,” he said with a jolly tone that suggested I might also soon discover that chocolate is delicious and sunshine is nice. “Hartford is where Tom and Huck were born!”
If Hartford doesn’t crow about that, Mr. Faude attributes it to the region’s taciturn Yankee tendencies. “We don’t do enough talking,” he said. “We all know that it’s here. Why do we have to go public? This is reticent Connecticut.”
Even so, it wasn’t long before Mr. Faude was regaling me with historical morsels. “At one point, it was said that Hartford was the richest city in America,” he said. It became a vortex of American publishing, which is what originally attracted the likes of Twain in the 19th century, and its dominance in the insurance business is what provided Stevens with a well-kept bourgeois cocoon in the first part of the 1900s. Hartford also produced guns and banks, and a long, high tide of prosperity flooded the city with art and culture. The Wadsworth Atheneum, advertised as “the oldest public art museum in the United States,” was founded in 1842. It’s where Pablo Picasso had his first American retrospective.
I took a tour of the Mark Twain House on my weekend visit, and I found it unexpectedly opulent. (Our guide told us that Twain and his wife, Olivia Langdon Clemens, the daughter of a rich coal baron, had spent thousands of dollars a year on its upkeep; they were forced to move out in 1891 after a few lousy tech investments left the author bankrupt.)
But for a poetry obsessive like me, the Stevens walk was the main attraction.
This particular perambulation, though, is, like Hartford itself, quite modest. There are no tour guides; in keeping with the private enterprise of creating poetry, you’re on your own. Along the walk there are pale slabs of Connecticut granite engraved with verses from one of Wallace Stevens’s most indelible poems, “Thirteen Ways of Looking at a Blackbird.”
That’s about it.
Nevertheless, I found the walk to be deeply moving. After all, how often do we get to explore the cranial machinery of a literary titan by slipping into the groove of his daily commute?
Stevens never learned to drive. Even though many of his neighbors had no idea what he was up to, he would amble along Asylum Avenue methodically measuring the pace of his steps and murmuring phrases to himself — phrases that would become some of the most haunting lines in the English language.
“It seems as though Stevens composed poems in his head, and then wrote them down, often after he arrived at the office,” Prof. Helen Vendler, Harvard’s grande dame of poetry and the author of “Wallace Stevens: Words Chosen Out of Desire,” explained to me in an e-mail. “As for his commute, he enjoyed it profoundly. It was his only time out of doors, alone, thinking, receptive to the influx of nature into all the senses.”
It’s all too easy to assume that Stevens was some tortured artist forced into a life of Babbitt-y corporate drudgery. In fact, evidence suggests that he rather liked his peaceful routine in Hartford — his backyard garden, his wine cellar, even his job at the insurance company.
“Stevens enjoyed his work very much,” said James Longenbach, a poet, a professor at the University of Rochester, and the author of “Wallace Stevens: The Plain Sense of Things.”“It was crucial to his achievement. He turned down an offer to be the Norton Professor of Poetry at Harvard because he didn’t want to leave his work. He continued to go to the office even when he was beyond the mandatory age of retirement. He never showed that he felt any conflict or tension between what might appear to be the different aspects of his life.”
Still, the poetry that poured forth from this burgher’s daily rendezvous with his “interior paramour” — to use a phrase from a Stevens lyric — can, for the casual reader, border on opaque. “People just throw up their hands and say, ‘I can’t understand this, it doesn’t make any sense,’ ” said Jim Finnegan, the president of the Friends & Enemies of Wallace Stevens, which has brought poets like Robert Pinsky and Mark Strand to town for events.
None of this deters the literary pilgrims. “I get e-mails from people from all over the world,” Mr. Finnegan said. “Stevens has this far-flung readership out there.”
It would be silly to suggest that a couple of hours of walking around gave me miraculous insight into a poem like “Peter Quince at the Clavier”— yet I did come to understand something simple but crucial about Stevens. What moved me about the walk, in the end, was that he had chosen to walk at all. In a car-mad country that prides itself in being perpetually in motion, the poet made a clear and conscious decision to stop, to slow down, to burrow into his imagination. And walking had opened his eyes and ears to a place that was full of surprises. As Stevens himself put it in a poem:
“It is like a region full of intonings./It is Hartford seen in a purple light.”
****

Poetry of Wallace Stevens

Peter Quince at the Clavier

I
Just as my fingers on these keys
Make music, so the self-same sounds
On my spirit make a music, too.
Music is feeling, then, not sound;
And thus it is that what I feel,
Here in this room, desiring you,
Thinking of your blue-shadowed silk,
Is music. It is like the strain
Waked in the elders by Susanna;
Of a green evening, clear and warm,
She bathed in her still garden, while
The red-eyed elders, watching, felt
The basses of their beings throb
In witching chords, and their thin blood
Pulse pizzicati of Hosanna.

II
In the green water, clear and warm,
Susanna lay.
She searched
The touch of springs,
And found
Concealed imaginings.
She sighed,
For so much melody.
Upon the bank, she stood
In the cool
Of spent emotions.
She felt, among the leaves,
The dew
Of old devotions.
She walked upon the grass,
Still quavering.
The winds were like her maids,
On timid feet,
Fetching her woven scarves,
Yet wavering.
A breath upon her hand
Muted the night.
She turned --
A cymbal crashed,
Amid roaring horns.

III
Soon, with a noise like tambourines,
Came her attendant Byzantines.
They wondered why Susanna cried
Against the elders by her side;
And as they whispered, the refrain
Was like a willow swept by rain.
Anon, their lamps' uplifted flame
Revealed Susanna and her shame.
And then, the simpering Byzantines
Fled, with a noise like tambourines.

IV
Beauty is momentary in the mind --
The fitful tracing of a portal;
But in the flesh it is immortal.
The body dies; the body's beauty lives.
So evenings die, in their green going,
A wave, interminably flowing.
So gardens die, their meek breath scenting
The cowl of winter, done repenting.
So maidens die, to the auroral
Celebration of a maiden's choral.
Susanna's music touched the bawdy strings
Of those white elders; but, escaping,
Left only Death's ironic scraping.
Now, in its immortality, it plays
On the clear viol of her memory,
And makes a constant sacrament of praise.

單字
rift, riff, bawdy, risqué, pomology, viol, tambour...

西川滿, 陳藻香 《媽祖祭》《華麗島顯風錄》/導讀《華麗島顯風錄》與《華麗島民話集》的講稿( 松尾直太)

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活水來冊房日治臺灣相簿中新增了 1 張相片。
藏書界竹野內豐讓最多人流淚的一篇爆文。
昨晚在八卦板,有鄉民問起什麼是「灣生」,後來可能他自己把問卦刪了,不過,這倒是又作球給我接,讓我回了一篇關於灣生的故事。
我並非台灣史科班出身,要我說多深入的東西或者分析當時政治情勢與國族觀念轉換等等,那是辦不到的。我只能就像與讀者同桌泡茶,一邊聊天一邊從抽屜一件件拿出收藏,與各位閒話老東西的由來。
當然,從底下眾多的「反觀國民黨」推文中,可以想像為什麼日前藍營「晴天蝸牛」粉絲團把我列為親綠平台之一(或者直接被解讀為綠營網軍),凸顯了他們對「活水來冊房」這非政論性書話平台,有一定程度的警戒。
但其實我一向秉持一個原則:有什麼文獻,講什麼故事,如此而已。因此,雖然我被「晴天蝸牛」視之為親綠,可是昨天一樣是藍營的「柱姐新聞讚」還分享了本團的照片呢。這就證明了,活水來冊房並非政治性平台,文獻本身沒有藍綠,會分非藍即綠或非綠即藍的,從來只有人而已。很多網友看到日前晴天蝸牛做的那張圖,第一個反應就是為活水來冊房抱不平,真的很感謝大家!
那麼,就點選最上方的連結,聽我用有點鼻音的溫柔嗓音,為您說出灣生的故事......
(顯示圖片為「準灣生」西川滿製作的包袱巾,其中所謂「華麗島」便是指美麗島台灣。)
活水來冊房的相片。

敬獻「加冠」、「進祿」,恭祝諸君新年快樂!
西川滿:《媽祖祭》,台北:媽祖書房,1935年。以傳統門神版畫作為封面,西川滿的第一本詩集。

「敬獻「加冠」、「進祿」,恭祝諸君新年快樂!  西川滿:《媽祖祭》,台北:媽祖書房,1935年。以傳統門神版畫作為封面,西川滿的第一本詩集。」

川瀨健一先生跟我說過,西川滿先生終生在日本提倡媽祖。

*****

華麗島顯風錄
Front Cover
出版社:致良, 出版日期:1999-

http://books.google.com.tw/books?id=MNAmE3WHBQgC&q=%E5%BA%A6%E6%AD%B2#v=onepage&q=%E5%BA%A6%E6%AD%B2&f=false



導讀《華麗島顯風錄》與《華麗島民話集》的講稿

2006.12.2於台南大學台灣文化研究所
松尾直太(吳鳳技術學院)

0. 寒喧,開場白
戴所長、各位老師、各位學員,大家好!我是,剛剛由戴所長介紹過的,松尾直太。請各位多多指教。首先,我必須得說,我漢語溝通能力很有問題,所以預先請各位諒解,並希望能夠得到各位的寬恕。待會兒,我一定會發生不會說,或聽不懂等語言上的困難問題,屆時,我想向戴所長求救,希望所長能得救我,請多關照,並多包涵。
話說回幾個禮拜前,戴所長打電話給我說,「Matsuo桑,松尾,你可不可以在我這邊教只有一天的日文?教材是有關於民俗方面的。沒關係,不用擔心,內容是簡單的。你只要跟學生稍微唸一些日文就可以了,所以說,我希望,請你務必來教一下。」所長只這麼說,而那時候,他並沒有清楚地交代告訴過我說,目前他籌備日本統治時期的資料館的事情,以及與此關聯,我是必須在像今天這樣對外公開的很正式的資料研習會上授課這些消息。我剛開始是根本都不知道這些的,因此我就輕鬆地答應下來。
然而,過了幾天後,我收到一件郵件,好像是一張海報似的,我打開一看,裡邊大大地寫著,台南大學「台灣民俗文化日文資料導讀課程研習」等等,那麼,誰知道,下面竟然有我的名字呢!這可讓人實在驚訝!原來這麼正式啊,情況可不得了哪!我是這麼遲遲才恍然大悟的。
其實,我不得不偷偷地告訴各位,我並不是學習研究民俗這方面的人,所以說,到今天為止,我把被指定給我的那兩本教材,抱著和大家一起學習的心態拼命地讀過來。
今天我們要讀的書是《華麗島顯風錄》與《華麗島民話集》兩本書。《華麗島顯風錄》收錄把臺灣的民俗當作素材來撰寫的散文詩。而《華麗島民話集》則收錄臺灣民間口傳下來的故事。這兩本原書以日文書寫,當然我對原書的語言本身基本上沒有問題,可是,承載這本書的風俗習慣,或者是說文中常出現的閩南話詞彙的發音和語意卻弄不清楚。對這些問題來說,當然,大家很熟悉,可以說各位才是我的老師,於是在這次課堂當中,針對這些方面的問題,我反倒想向大家常常問一問,請不吝指教。
無論如何,今天我們研習的目標,首先第一是,希望透過這個機會,各位學員能夠認識世上有了這樣兩本書的存在,然後,這個目標,現在這個一瞬間,就已經達到了,恭喜大家!第二個目標是,我希望各位盡量能了解這兩本書的概要,並且以此為契機,對這些書感到興趣,假如各位回家後,想要買來再度翻翻看的話,那麼,對我來說是十分榮幸。

1. 作者西川滿簡介
那麼,開場白到此為止,接下來我們看看今天兩本書的作者。這兩本書的寫作背景是日本殖民統治臺灣的時代,那麼以下,我想把這個時代叫做「日本統治時期」,這兩本是在日本統治時期住在臺灣的日本人,以日語書寫的文章結集而成的書。另外,以後我也想把在日本統治時期住在臺灣的日本人叫做「在臺日本人」。
《華麗島顯風錄》是西川滿的著作,而《華麗島民話集》則是西川滿和池田敏雄的合著。那麼,首先讓我們簡單地看一看兩邊的作者西川滿在臺灣時的經歷吧(請大家參考西川滿照片以及「西川滿略年譜」)。
西川滿,日語把它發音成為Nishikawa Mitsuru。他在1908年,也就是明治41年,生於日本福島縣會津若松市,2歲的時候,因為父親的工作的關係,他跟著一家人渡海來臺,從此以後,一直到日本戰敗,臺灣光復第二年的1946年,在臺日本人都返回日本為止,除了唸大學時期的5年以外,總共31年之久的時間,西川滿都在臺灣生活著。
西川滿小學入學後,就對文學雜誌開始有了興趣,到了中學生的時候,他的文學熱不斷地升高。中學二年級,15歲的時候,也就是1923年,他把一篇小說投稿到《臺灣新聞》這個報紙,結果他得了新年文藝懸賞頭獎。之後,他在中學求學期間,就創刊了文藝雜誌。就這樣,西川滿從中學起,就正式地開始創作文學作品,並創辦文藝雜誌,可見他對於文學方面非常早熟。
1928年,也就是昭和3年,20歲的時候,他有一度離開臺灣,隻身負笈東京,在早稻田高等學院、早稻田大學專攻法國文學,在1933年、昭和8年,他提出了研究愛爾屈藍波的畢業論文,在早稻田大學畢業了。在畢業之際,西川滿面對著留在東京或是回到臺灣的問題,猶豫不決,不過一個叫做吉江喬松,這位他的恩師給西川滿建議說:「為地方主義文學奉獻一生吧!」,因此西川滿下定決心回臺灣。西川滿快離開東京的時候,吉江喬松特別為西川滿留念揮毫寫了詩句贈與他:「南方是∕光之源∕給我們∕秩序與∕歡喜與∕華麗」。就這樣,他回來臺灣,這是19335月,西川滿25歲時的事情。
我想,大家或許已經注意到了,今天我們的兩本書的書名裡頭都有看到「華麗島」三個字吧。這是一種對「臺灣」的美稱,據說是西川滿創造的詞語。聽說,這個「華麗」一詞就是,來自剛剛提過的吉江喬松的那詩句。
那麼,回到臺灣的西川滿在第二年,也就是1934年,進入臺灣日日新報社這個當時臺灣最大的報社上班,他致力於讓停刊許久的「文藝欄」恢復在《臺灣日日新報》版面上。順便一提,所謂「文藝欄」相當於今日臺灣報紙的副刊。然後,他擔任「文藝欄」的編輯工作。不僅如此,他也開始了臺灣愛書會的機關雜誌《愛書》的編輯工作,甚至還自己創設一個名叫「媽祖書房」的出版社,順便一提,這個出版社後來名字改成「日孝山房」,這也就是《華麗島民話集》的出版社。他設立媽祖書房,並且創辦雜誌《媽祖》。這樣,西川滿將在臺灣精力豐沛展開的文學活動就啟動了。附帶一提,收錄在我們今天的第一本《華麗島顯風錄》的文章就是大概在這個時候發表。西川滿在進行上述的各種活動的同時,還在日本內地以及臺灣島上陸陸續續不斷地發表詩和小說等作品。此外,他特別講究書本裝禎製作,喜歡嚴選使用高級紙,搭配美麗的木版畫等等,他還有從事書的限量出版活動。另外,他還創刊了民俗研究雜誌。如此,他活躍於文學和出版為中心的文化活動,在臺灣的文化界立刻嶄露頭角。
西川滿在臺灣進行的文化活動最值得矚目的是什麼呢?那應該就是主導並編輯雜誌《文藝臺灣》以及在《文藝臺灣》上所展開的文學創作吧。19401月,西川滿網羅臺灣島內主要的文學家,成立臺灣文藝家協會這樣的文藝組織,並創刊了《文藝臺灣》。後來,1940年代的臺灣文化界有以臺灣人作家為主創刊《臺灣文學》,民俗研究愛好者創刊《民俗臺灣》這些雜誌,呈現出繁榮興盛的景象,那麼,我想《文藝臺灣》可以說是造成這樣活躍景象的開端,在這層意義上來說,它是很重要的。《文藝臺灣》是在日本統治時期臺灣的文藝雜誌當中,發行時間最久,而且它培養出不少日本人和臺灣人作家,一直到19441月為止,一共刊行了38期。譬如說《華麗島民話集》,我想,這本書可以說是在《文藝臺灣》的文化活動當中所產生出來的成果之一。如果說,西川滿是在當時臺灣的文學界最重要的在臺日本人作家,也不為過。
西川滿在文學上所追求的是,希望能夠在臺灣建立一個與日本內地不同,南方燦爛而浪漫的獨特的地方文學。他把島田謹二這位學者看成指導者,實踐島田所說的外地文學。西川滿是一個藝術至上主義的作家,他的作品以非常巧妙的文章能力為基礎,充分加進浪漫主義和異國情調,常把臺灣的風物以及歷史當作文學素材,創造出獨特的美感。在臺灣創作的主要文學作品有:小說集《赤嵌記》、長篇小說〈臺灣縱貫鐵道〉、詩集《媽祖祭》《亞片》等。
當然,陳藻香在《華麗島顯風錄》和《華麗島民話集》收錄的〈西川滿小傳〉欄說:「西川滿的文學被斥為未能反映民間疾苦的統治有閒階級的文學,備受批判」,我想說,西川滿文學確實有了「未能反映民間疾苦的統治有閒階級的文學」這樣的一個剖面,這也是不能否認的一個事實。

2. 介紹《華麗島顯風錄》
接下來,我們看一看第一本《華麗島顯風錄》。首先,我要說,這次我能介紹的是僅止於一些比較概況性的陳述而已,這一點敬請諒解。
那麼,《華麗島顯風錄》是什麼樣的一本書呢?若是用很簡單的一句話來說的話,那就可以說,它是大量地把臺灣的風物、習俗加進而創成的,充滿詩意的短篇故事集。研究者把這分類成「散文詩」,也就是說用散文的形式寫出來的一種具有詩的美感的作品意思。
首先,我想介紹有關於《華麗島顯風錄》單行本的出版、版本這些情況。先要注意的是,叫作《華麗島顯風錄》這樣名稱的書在戰前,不管是臺灣,還是日本都從來沒有出版過。那麼,這本書在什麼時候,在哪裡發行呢?事實上,這是到了戰後,在兩個地方出版的。最初,在1981年的東京,西川滿本人所主持的「人間之星社」以限量本的形式,只發行了75份。因為數量太少,一般的人要看這本書是極為困難。真不好意思,我也沒看過這個版本。另外一次是,在1999年的臺灣,由致良出版社,以陳藻香監製來出版。(出示書本)這就是它。是裝訂設計很漂亮的書。定價150元。如果你翻開看就知道,這本書有著日文原文搭配上中文對譯的設計。請看目次,目次在大家的影印資料裡頭就有。一共收錄17篇的故事。在此我想再次說明的是,這兩種版本其實收錄作品內容有若干地出入。西川的版本在事實上比起陳藻香的版本少了一篇,也就是16篇。陳的版本多加了〈林本源庭園賦〉這一篇作品而成。
接下來,我想簡單地提出《華麗島顯風錄》收錄文章原先的發表情況。這些文章原先幾乎在同一個時期重疊地發表在日本內地和臺灣島上。那麼,對日本內地方面來看,西川滿以〈臺灣風土記〉為標題,從19356月到19373月,連載在《文藝汎論》雜誌上總共12次,而在臺灣島方面,他則用〈臺灣顯風錄〉的名稱,從193511月到193612月,在《臺灣時報》雜誌上,同樣的連載12次。由此也可知,西川滿在當時預先把日本、臺灣兩地的人們設想成為讀者來寫出這一系列文章。
那麼,西川滿把哪些東西書寫成為故事的呢?請大家過目一下我發給各位的參考資料中的目次。單單從目次裡頭的故事標題也可以看得出這方面的訊息。有哪些呢?有什麼樣的東西呢?比方說,「城隍廟」「凌雲禪寺」「媽祖廟」這些是屬於什麼範疇呢?是,就是屬於臺灣的寺廟。那麼,接下來,「七娘媽生」「普渡」「中秋節」「送神、辭年」「燈爺」這些是屬於什麼呢?對,就是臺灣每年定例的儀式、活動以及例行的祭典。那,接著「洞房花燭」「滿月」「度歲」這些呢?沒錯,是屬於臺灣漢人的人生大事或是成長禮。那麼,「天上聖母」呢?是的,屬於臺灣的神明。至於「栽花換斗」呢?對的,是臺灣民間的一種迷信。此外,還有「林本源庭園―」「江山樓―」,這些當然是臺灣有名的地方的名稱。從這些就可以知道,故事的題目都選用台灣獨特的事物,而且其中多半都關涉到民間信仰,還甚至說這些都可以概括成為臺灣的民俗。的確,西川滿把臺灣特有、傳統的風物都拿來作為文學作品的題材。
緊接著,現在讓我們看一下這本書的文本吧。請各位翻開看「栽花換斗」這篇文章。我想先給大家5分鐘的時間,不管是日文也好,還是中文也好,反正請默讀一下。(默讀)讀完了嗎?讀起來感覺如何呢?現在我要唸日文一遍,給大家聽聽,日本讀者如何讀這個作品。要是會唸日文的話,也請跟著我一起唸。開頭的部份,因為我完全不懂臺灣話,所以純粹按照日文的標音,完全用日文式的發音,沒有聲調而且呆呆板板地、機械性地唸唸看,一定非常好笑的。(日文朗讀)
這個文章,把一個名叫真珠的花娘作為這小故事的主角,具體地描寫出改變胎兒性別這樣的一種臺灣民間的需求心態和念咒作法的全程進行過程。因為這個故事的標題,以及開頭的所謂「生產之歌」都是閩南語標記,日本一般讀者當然都看不懂,但是沒有關係,不必擔心。由於文章後面附上仔細的注釋,而且同時,你把文章讀下去的話,從文章的上下文,你就會自然而然地十分了解,西川滿這樣巧妙地設計為文。這樣的閩南語詞語在文中安排可能會讓讀者醞釀出強烈的異國情調吧。這一文當然也可以純粹視為散文詩來閱讀玩味,也可以視為一種為了幫助讀者了解台灣風俗的資料來利用。西川滿以這樣的筆調創作。
接下來,我們繼續讀讀看另外一篇文章吧。這次是「城隍廟」。我又想給大家5分鐘的時間,請大家默讀一遍。(默讀)大家讀完了嗎?感覺如何?現在我唸日文一遍給大家聽。(日文朗讀)聽起來的感覺怎麼樣呢?
這篇把江山樓的花娘小妹設定成為故事主角,從她內心勾勒出小妹來參拜城隍廟,向城隍爺祈求神諭的過程情形。上一篇的故事舞台是龍山寺附近的萬華,而這篇則是大稻埕。至於舊臺北市兩個地方大概的位置關係,請參照參考資料「舊台北市內略圖」。若是從民俗理解方面來看的話,只要你閱讀一次這篇故事,就會具體地、充分地暸解到占卜始終的過程和其意義。文章中,「小妹」做了哪些習俗性的動作呢?請各位講講看。沒錯。(譬如說:在鐵香爐插了三柱香、恭恭敬敬地跪拜、擲筶、為了飲用把香灰兜進竹紙上(準備把香灰帶回家)、買了大把的大太極金、把大太極金投入金爐中把它燒掉,可以看到這些拜神動作。)
接著,請看一下「度歲」這個作品。首先,請各位默讀一下。(默讀)大家讀完了沒有?我再一次試著唸唸日文。(日語朗讀)
讀起來,或聽起來感受如何呢?我想這篇故事滿有趣的。請看一看附上故事後面的一張插畫,這是西川滿的終生的朋友宮田彌太郎畫伯所畫出來的。假如你邊看插畫,邊閱讀故事的話,就能會生動地認識到臺灣人出生後第一次的生日習俗如何地進行著,於是令人感到十分有趣。大家的家庭目前是不是還留下這樣的風俗呢?讀了這個故事,我強烈地感受到,重視孩子的誕生、大家庭的人們、以及祖先這三方面之間的羈絆,這樣的漢民族的倫理觀念。
以上,我們實際觀察文本,不知道大家感受如何。這本書在使用語言上最有特色的是,閩南語的詞句直接放進文章中,並標注閩南語的讀音。無論是臺灣的題材,還是臺灣的詞句,對住在日本內地的人來說,通通都是從來沒有看過的陌生的東西。日本人看表示這些事物的漢字,或許感覺到中國風格吧,總之,這樣的文字安排想必激發讀者的異國情調吧。這本書的文本舞台都是以臺北為中心的北部臺灣。我想,今天大家大部分的時空背景跟本書應該都相異,也就是說時代的不同,地方的不同等等,因為如此,所以我估計,現今的臺南為主的南部人閱讀這本作品所承載的風物習俗的時候,一定會有所未知的、新的發現。

3. 另外一位作者――池田敏雄
當我談到《華麗島民話集》之前,我先來介紹《華麗島民話集》的另外一位作者池田敏雄他在日本統治時期的臺灣時的簡單履歷。池田敏雄用日語唸為Ikeda Toshio。一提到池田敏雄在臺灣,馬上就聯想到是一個「臺灣民俗的研究家」,或是一個雜誌《民俗臺灣》實際上的總編輯。
池田在1916年,也就是大正5年,出生於日本島根縣簸川郡莊原村。8歲,小學2年級的時候,他跟著一家人渡海來臺,此後,直到1947年為止的23年期間,他生活在臺灣。1935年,19歲的時候,畢業於臺北第一師範學校,從當年4月起,開始當了臺北萬華的龍山公學校的教員。所謂公學校是當時以臺灣人子弟為對象而實施初等教育的機關,相當於現今的國小。池田在這個時候對於臺灣的民間口傳故事、童謠等,已經有了興趣。因此,他就在這個教員生活中,開始搜集未來將成為《華麗島民話集》的素材。
在這樣的教員生活當中,有了一個影響到決定池田未來行走方向的因緣際會,那就是和一個名叫黄氏鳳姿的女學生之間的際會。起初,池田發覺到這個少女的文學才能,並把它一手栽培起來,池田要讓黄氏鳳姿陸陸續續寫出有關於臺灣人生活中每年例行的活動以及習慣方面的作文,把黃鳳姿介紹給池田從學生時代就認識的西川滿,也得到西川的鼎力協助,後來那些作文能夠以《七娘媽生》(1940)《七爺八爺》(1940)《臺灣的少女》(1943)等書的形式呈現問世,在這個過程中,池田都扮演了其幕後功臣的角色。
不單是如此,與此同時,池田也透過黃鳳姿認識到她的家人,也就是萬華黄家,而能得到他們的協助,也因此就開始進行萬華的民俗採集。如此一來,池田越來越入了臺灣風俗習慣的迷了。
然而,在這個時代,臺灣人傳統的文化是因為臺灣總督府推行皇民化政策的關係,被否定並破壞。在這樣的情況之下,池田深痛地感受到有把即將會消失命運的風俗習慣搜集並紀錄的必要性,也因此他強烈地希望民俗雜誌的刊行。於是,他請求臺北帝國大學醫學部解剖學教室的金關丈夫教授的協助和指導,在19417月,以金關丈夫作為主持者創刊雜誌《民俗臺灣》。這是以介紹和研究臺灣為主的風俗習慣為目的的月刊雜誌,截至19451月份為止,一共發行了43期。其實實際上編輯這雜誌的人就是池田敏雄。就這本雜誌的內容以及意義,由於戴文峰老師下次將應該會在課堂上詳述,因此我不再贅言了。附帶一提的話,黃鳳姿後來嫁給了池田敏雄。所以他們在公學校的相遇還可以說是命中注定的也沒有錯。
池田從1940年起開始進行總督府期刊的編輯工作,到了戰後初期被中華民國臺灣省政府留用,在臺灣編譯館服務過,但在二二八事件發生後就返回日本了。
對池田敏雄重要著作而言,我想舉以下兩個作品,就是:「文學書目在臺灣」(《愛書》第14輯,1941,與黃得時合寫),單行本《臺灣的家庭生活》(1944,東都書籍臺北分社)。尤其是針對《臺灣的家庭生活》,我想告訴各位目前在臺南大學籌備的資料中心收藏著這件事。

4. 介紹《華麗島民話集》
再繼續,我們來觀察一下,由池田敏雄和西川滿兩個人所寫下來的《華麗島民話集》吧。這是一本登載著臺灣民間口傳故事的書。雖然是兩個人的合著,不過根據文獻資料的記載,實際上的執筆過程當中兩個人的任務有明顯的分派。簡單來說,一個扮演搜集素材的角色,另外一個則扮演料理素材的角色。那麼,前者也就是搜集素材的人是池田,後者也就是素材的廚師是西川。要是用現在的說法的話,可以說是「民俗達人」和「文學達人」的「collaboration」絕佳搭配。具體地說執筆過程的話,就是這樣子:起初池田敏雄主要從自己服務的公學校學生那裡,大量地搜集到民間口傳故事,然後,西川滿從中精挑細選的結果,就選出了24篇故事,再然後,他把那24篇視為藝術素材來重新加以改寫。西川滿對選出來的材料提出看法說:「這24篇,無論說哪一篇,到目前為止,在臺灣民間故事當中,都是很出色」;同時,西川滿還對改寫故事的態度,這麼說:「我始終都以書寫散文詩的心情來寫,並且寫有些作品時,就像把音符寫在五線譜紙上一樣的心情,著重於節奏來進行,與此同時,我努力不要讓作品失去作為民間故事本身的自然、樸素」。總之,西川滿希望《華麗島民話集》「二十四篇並不單純地被看待是民間故事,而是作為藝術作品來受到評論」(「紙人豆馬」《文藝臺灣》4-4,頁27)。如何呢?我們從這些西川滿的話語就可感覺到,他對這本書的素材、製作以及完成度都有很大的信心。
接著,我想就《華麗島民話集》的版本稍微談一談。本書到目前為止出版過兩次。第一次是原書的出版,是在日本統治時期19425月,由臺北的日孝山房這所出版社限量發行了500本。說起來也實在不好意思,這次我預先沒能得到機會實際看這個版本的書。根據文獻資料的記載,原書嚴格來說,有兩種,所謂「福虎版」發行150份,所謂「海老版(也就是蝦子版)」發行350份。據說兩種書封面上,由畫家立石鐵臣所刻劃的版畫設計好像不相同。這是用日文書寫的書。第二次的出版的是陳藻香監製的日中文對譯本。作為剛才我介紹過的《華麗島顯風錄》的姊妹書來在1999年從臺北的致良出版社發行了。就是這本(出示書),這就是現在我們在臺灣最容易看得見的《華麗島民話集》的版本。很漂亮的一本書,對不對?定價150元,也很便宜。本書的編輯方式也跟《華麗島顯風錄》大致相同。翻譯非常忠實於原文。總之,《華麗島民話集》存在者3種版本。
本書收錄24篇民間故事。故事細目,請參考發給大家的目次影印。陳藻香在序文中說:「內容都是家喻戶曉,流傳於臺灣民間的故事」,單單看目次裡的故事標題而言,大家就認得出有多少篇故事呢?(問學員)我曾經問過朋友們,他們說,比如「公冶長救鵝」「貓和老鼠」「賠了夫人又折兵」「雷公與閃那婆」等故事從小就認識。而各位的情況怎麼樣呢?
再來,我想談一下有關於本書收錄文章原先的發表情況。《華麗島民話集》收錄的故事,除了「雷公與閃那婆」以外的23篇故事,分成4次刊載在西川滿主導的《文藝臺灣》雜誌上。詳情請看參考資料中的原載表格。
《華麗島民話集》收錄故事原載表
標題
刊載作品
《文藝臺灣》刊載期數
「七娘媽と海老の皮―華麗島民話集(一)」
「七娘媽與蝦子皮」「愚蠢的丈夫」「蝸牛」「猴女」「貓和老鼠」「換頭」「灶神」「虎姑婆」
1卷第2號(19403月)
「天公と山羊と豚―華麗島民話集(二)」
「天公與山羊和豬」「乞丐的口水」「狗仙」「蛇酒」「賠了夫人又折兵」
1卷第3號(19405月)
「家鴨を救った公冶長―華麗島民話集(三)」
「公冶長救鵝」「鯰魚」
1卷第4號(19407月)
「三羽の小鳥と九代貧―続華麗島民話集―」
「福虎」「河蜆」「不會走路的小孩」「董碩」「仰賴運氣的女子」「給繼子炒過的豆子」「螞蟻」「三隻小鳥與九代貧」
2卷第2號(19415月)
如表格,《華麗島民話集》收錄的故事原先分成「華麗島民話集」(一)到(三)以及續篇的4次來刊載。
順便一提,我這次發覺了,西川滿把上述的華麗島民話集系列文章刊載《文藝臺灣》第三次的時候,他原先已經有構想,把這些文章結集成書,在東都書籍臺北分社,作為「南方叢書」系列的一本來近期立刻出版,不知道為什麼,後來這個計畫就消聲匿跡了。然後,再過了1年又10個月的時間,本書的出版總算在西川滿自己經營的出版社「日孝山房」付諸實現了。從此也可以看出,即使就像西川滿那樣,擁有自己的出版媒體,對臺灣的出版界較有權力的人也對於書的出版總有多少曲折,而並不容易,這一點讓我覺得很有意思。
接下來,我們簡單地看一看這本書的文本內容。我通讀本書之後,製作故事的分類表,於是我想邊看這張表邊介紹故事。請大家參照參考資料中的「故事分類表」。
《華麗島民話集》故事分類表
故事的類型
   
因果報應
「七娘媽與蝦子皮」「乞丐的口水」「蛇酒」「福虎」
愚人
「愚蠢的丈夫」
起源由來
「猴女」「貓和老鼠」「換頭」「灶神」「虎姑婆」「天公與山羊和豬」「公冶長救鵝」「董碩」「雷公與閃那婆」「賠了夫人又折兵」「三隻小鳥與九代貧」
異類婚姻
「河蜆」
超自然
「不會走路的小孩」「蝸牛」
因緣
「仰賴運氣的女子」「螞蟻」
悔改
「鯰魚」「給繼子炒過的豆子」
我這次試著把民間故事,從故事的主題來看,分成7個類型。就分類法來說,我並沒有根據這領域的學術專門性的方法,而僅以個人主觀概念來分類,這一點請諒解一下。雖然實際上能誇越幾個類型的故事也有,可是暫且我如表格分成以下7種,那就是:「因果報應譚」「愚人譚」「起源由來譚」「異類婚姻譚」「超自然譚」「因緣譚」「悔改譚」。以下,讓我們觀察其中一部分類別作品吧。
首先,我來介紹「因果報應譚」。我認為「七娘媽與蝦子皮」「乞丐的口水」「蛇酒」「福虎」這4篇可以歸類在這裡。我們觀察一下其中,「七娘媽與蝦子皮」「乞丐的口水」「蛇酒」的3篇。這些故事裡面的主角都是心地善良、懇切待人、有誠意的人,他們雖然都遭到過令人不愉快的事情或不幸的經驗,不過最後卻都能得到好結果。在「七娘媽」的故事裡,因為很窮的男人有好心腸,到最後他得到了很多錢,終於如願以償得以準備豐富的菜餚來祭拜七娘媽。「乞丐的口水」裡懇切對待骯髒乞丐的一家人最後能得到黃金。「蛇酒」裡,曾經很溫柔親切地對待過乞丐的姑娘,後來被已發財了的過去的「乞丐」所救,最後兩個人幸福地結婚了。由這些故事都看得出心腸好的人總有一天能得到幸福,這樣的帶有教化性的主題。
那麼,現在請各位默讀「福虎」這篇故事吧。(默讀)是不是覺得是很好的故事?我來用日文朗讀看看。(朗讀)
這篇與上述的3篇故事情節跟感覺有點不相同。希望改邪歸正成為正當人的流氓(老鰻)阿福,因為為了他人,甚至於也為了老虎,誠心誠意地發揮自我犧牲的精神,結果被暗示著最後他昇天成為神明了。阿福想悔改的願望,由於他的好心腸,最後得到了超越凡人的神格這樣的善報,所以我把這故事歸類為「因果報應」也並不是牽強附會吧。自我犧牲的精神和誠心是值得敬重的,是不是能讀取這樣教化性的主題呢?
接著,我想提出「起源由來譚」。我認為可以分成這個類型的有以下11篇故事,也就是:「猴女」「貓和老鼠」「換頭」「灶神」「虎姑婆」「天公與山羊和豬」「公冶長救鵝」「董碩」「雷公與閃那婆」「賠了夫人又折兵」「三隻小鳥與九代貧」。這些故事共同之處是什麼呢?顧名思義,故事內容都關涉到說明各種各樣事情的起源、由來、來歷等等,這一點就是相同的。比方說,「貓和老鼠」「天公與山羊和豬」表示哪方面的起源由來呢?它們表示關於習慣習俗的由來來歷。「猴女」「換頭」「公冶長救鵝」表示事物形狀的由來。「灶神」「虎姑婆」是有關於神明的由來譚。「董碩」說的是世上的真理。「雷公與閃那婆」是自然現象的起源譚。那麼,「猴女」「賠了夫人又折兵」「三隻小鳥與九代貧」是什麼呢?這些表示臺灣的詞語和諺語的起源來歷。這些故事,對像我一樣的外國人來說,如果沒有注釋的話,連故事的存在本身有什麼意圖都無法理解。我也剛開始特別無法了解「賠了夫人又折兵」和「三隻小鳥與九代貧」。
現在我們讀一下「公冶長救鵝」。請各位默讀。(默讀)我用日文唸一遍。(朗讀)大家知不知道鵝的頭上為什麼長出肉冠呢?令人感到人與動物之間樸素又溫馨的故事。
再來,讓我們看異類婚姻的故事。「河蜆」是屬於這類的故事。那麼,請各位默讀這篇故事。(默讀)(朗讀日文)如何呢?河蜆化身為漂亮的女人,不得已作了年輕農夫的老婆,但是因為農夫說溜了嘴告訴小孩老婆的秘密,結果農夫失去了老婆。看來這故事好像顯示說,哪怕有多親密的關係,把不得過問的事卻過問,或者是說把講不得的事卻講出來了的話,其親密關係也有可能會破裂。讀這個故事,對我個人另外的感慨來說,人與人之間的相逢,不管是多麼愛的人,總有一天終究會離散,不禁令人感到難過。
最後,我來提出本書一些特色。如果從登場人物來看的話,本書故事中,人與神明或者動物之間的關係是很豐富,另外從類型來看的話,以因果報應和起源由來為主題的故事特別多,這就是本書的特色。

5. 結語
最後,簡單地說一句話,當作我的結語。《華麗島顯風錄》《華麗島民話集》的原先都是在日本統治時期的臺灣,日本人寫下留傳後世的。換句話說,這就是一種把臺灣人的風俗、習慣,以及民族性、人生觀,從異民族的眼光觀察下來的帶有民俗性、文學性的紀錄。這些紀錄經過560年後的臺灣重新再生呈現新的面貌,並且讓像大家這樣,臺灣的人們重新閱讀這個事實,對我來說,是一個令人感到不可思議而且很有意思的一件現象。這樣的現象當中到底能夠發現到什麼樣的意義,這也許是我們今後必須考慮的一個課題也不一定。感謝大家今天來一起討論,我的談話到此為止,謝謝。


(參考書目)
•《文藝臺灣》第一、二、四卷(1940-1942年,臺灣文藝家協會,文藝臺灣社)
•《臺灣近現代史研究》第四號(198210月,臺灣近現代史研究會)
•陳藻香《日本領台時代の日本人作家―西川満を中心として―》(19958月,東吳大學日本文化研究所博士論文)
•中島利郎編《日本統治期台湾文学 日本人作家作品集第一、二卷19987月,綠蔭書房)
•平川祐弘〈小泉八雲的作品『雪女』與西川滿的『河蜆姑娘』重返故里〉(20028月,臺灣大學日本語學系《後殖民主義臺灣與日本》)
•末成道男編《池田敏雄台湾民俗著作集下巻20032月,綠蔭書房)
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