“Anyone who has never made a mistake has never tried anything new.”
― Albert Einstein
― Albert Einstein
Painting by Mathieu Laca
書名：愛因斯坦傳，語言：繁體中文，ISBN：9575451090，頁數：399，出版社：志文，
Friday, November 30, 2018
智庫文化是家很不錯的出版社：第一本書：《縱橫美國》；重溫《貝聿銘－現代主義泰斗》
2018年11月1日 星期四
I.M. Pei: Mandarin of Modernism 《貝聿銘－現代主義泰斗》
貝聿銘-現代主義泰斗(I. M. Pei- Mandarin of Modernism )-
麥可．坎奈爾著
蕭美惠譯
智庫股份有限公司出版日期:1996/02
《貝聿銘－現代主義泰斗》
貝聿銘
貝聿銘所到之處都引人注意。儘管它長袖善舞、八面玲瓏，與企業大老闆、藝術家和國家元首交情匪淺，私底下的貝聿銘仍是難以捉摸的。恍如童年時代四面高牆的祖宅，它的內心世界不是西方人所能了解的；；即使是他以前的合夥人也表示不曾真正跟他親近過。解開這謎團的線索就在上海複雜的社會階級，甚至在古老庭園的石頭和潺潺流水之間。
這是一本有關建築物和權力、移民和同化、美式奔放和中式收斂、實用主義和華麗報導、東方和西方的傳記。書中附有珍貴照片幾十幀，均為貝聿銘和世界名人合照及其代表性建築作品：如中國香山飯店、香港中銀大廈、甘迺迪紀念圖書館、美國國家藝廊東廂、巴黎羅浮宮金字塔等膾炙人口的經典之作。
作者簡介
麥可．坎奈爾
畢業於普林斯敦大學和哥倫比亞大學新聞學院，曾供稿紐約客、時代、新聞週刊、紐約時報雜誌、運動畫報和國際合眾社。目前與妻子住在紐約。
譯者簡介
蕭美惠
國立政治大學西洋語文學系畢業，現任報社國際祖召集人。
目錄
貝聿銘－現代主義泰斗－目錄
一位最傑出的同學----貝聿銘 王大閎
前言
第一章 金字塔之夜
第二章 上海與蘇州
第三章 一名劍橋的中國留學生
第四章 我們將改變這一切
第五章 未能實現的諾言
第六章 甘迺迪的祝福
第七章 成立建築師事務所
第八章 柯普利廣場上的窗戶
第九章 美國最敏感的地帶
第十章 不朽的建築
第十一章 辯護
第十二章 回歸中國
第十三章 壞風水
第十四章 尾聲----
I.M. Pei: Mandarin of Modernism
November 7, 1995
The first biography of an amazing modern master whose architectural vision and political skill have shaped our environment. Michael Cannell reveals here the history and personality behind the enigmatic Pei, our most famous living architect. 90 black-and-white photographs.
Editorial Reviews
From Booklist
Master architect Pei's clean and elegant buildings are well known, but the man himself remains somewhat of an enigma, even to those closest to him. Cannell, who writes for Time and the New Yorker, couldn't penetrate Pei's mask, but he does offer a rich and vivid portrait that captures the essence of Pei's charm, vitality, and success. Born into a wealthy and influential Chinese family, Pei grew up in Shanghai where he received a Western education, became enamored of American culture, and chose to study in the U.S. He arrived here in the 1930s, and his academic prowess carried him to Harvard and Walter Gropius' influential circle. But Pei, more a man of action than theory, left teaching to build buildings. Cannell chronicles the creation of all Pei's original structures, emphasizing the buildings that made him famous--the Kennedy Library and the National Gallery's East Building--as well as those that triggered controversies, such as the disaster-prone Hancock Tower in Boston and the Louvre pyramid. Urbane, diplomatic, and ardent, Pei has maintained a distinctive bicultural and aesthetic balance and retained an openness to fresh challenges, such as the design of the recently opened Rock and Roll Hall of Fame. Donna Seaman
From the Inside Flap
The first biography of an amazing modern master whose architectural vision and political skill have shaped our environment. Michael Cannell reveals here the history and personality behind the enigmatic Pei, our most famous living architect. 90 black-and-white photographs.
Product details
Hardcover: 402 pages
Publisher: Clarkson Potter; 1st edition (November 7, 1995)
《貝聿銘－現代主義泰斗》：貝聿銘在哈佛的畢業設計是"上海美術館"1946，他說東西方的展覽習慣和藝術品大小，差別極大......
Sunday, November 25, 2018
《文訊》紀念張清吉先生：撰寫者： 曹永洋、林衡哲，秦賢次、莫渝
《文訊》的，沒多少內容。
【特輯】敬悼文化界的舵手：#張清吉 訪談錄／◆曹永洋整理
2018年教師節（9月28日）中午，我們得知這位出版界、文化界的巨人在新光醫院安詳辭世。相信廣大的讀者群，對這位為人低調，來自苗栗海邊，帶有濃厚草根性樸質、憨厚，卻一生為文化奉獻的傳奇人物，會感到十分不捨。
＿＿＿＿＿
＿＿＿＿＿
【內文摘錄】
謹以此「答客問」方式，傳達他的音容笑貌，並向張先生表示惜別。相信張先生刊行的「新潮文庫」，在讀者面對人生的挑戰時，仍如暗夜的篝火，孤獨行旅的螢光，帶給我們勇氣和希望。
‧
問：張先生，您能告訴我們您的出身和學歷嗎？
答：我是日據時代1927年出生於苗栗縣後龍鎮。我在苗栗外埔公學校就讀（其中有一年轉到台南），五年級時轉回外埔公學校（現為外埔國小）並在該校畢業。
‧
問：請問啟蒙您喜歡課外讀物的是哪些書籍？
答：我就讀小學四年級時，父親因為家計負擔太重，全家遷到台南鹽水並在糖廠任職一年；我因此有機會在糖廠附設圖書室裡，讀到一套日本出版社為青少年編寫的青少年版讀物，諸如《少年俱樂部》、《講談俱樂部》等書就成了我的啟蒙書籍。這一套完整的刊物打開了我的視野，讓我看到浩瀚的知識國度，也養成我一生手不釋卷的閱讀習慣。
‧
問：誰是影響您一生最重要的人？
答：搬回故鄉外埔公學校時的日籍導師大藏先生是我的恩師，他教我們五、六年級。全班男女同學合計44名，他發現我的成績，經常保持第一，時常鼓勵並指導我。他當時單身，我畢業後，太平洋戰爭風雲日益險惡，學校的男教員開始被徵調上戰場。離開學校以後我與恩師完全失去聯絡，不久我自己也被徵召到高雄岡山航空場報到，經過一番嚴酷無比的魔鬼訓練，之後被分發到飛機場第一線工作，這種組裝複雜的發動機和裝砲任務，相當繁重又有危險性，我心想不久自己也會被送往南洋充當砲灰。1945年8月15日，日本無條件投降，才得以解甲還鄉。。。
‧
問：張先生，您能告訴我們您的出身和學歷嗎？
答：我是日據時代1927年出生於苗栗縣後龍鎮。我在苗栗外埔公學校就讀（其中有一年轉到台南），五年級時轉回外埔公學校（現為外埔國小）並在該校畢業。
‧
問：請問啟蒙您喜歡課外讀物的是哪些書籍？
答：我就讀小學四年級時，父親因為家計負擔太重，全家遷到台南鹽水並在糖廠任職一年；我因此有機會在糖廠附設圖書室裡，讀到一套日本出版社為青少年編寫的青少年版讀物，諸如《少年俱樂部》、《講談俱樂部》等書就成了我的啟蒙書籍。這一套完整的刊物打開了我的視野，讓我看到浩瀚的知識國度，也養成我一生手不釋卷的閱讀習慣。
‧
問：誰是影響您一生最重要的人？
答：搬回故鄉外埔公學校時的日籍導師大藏先生是我的恩師，他教我們五、六年級。全班男女同學合計44名，他發現我的成績，經常保持第一，時常鼓勵並指導我。他當時單身，我畢業後，太平洋戰爭風雲日益險惡，學校的男教員開始被徵調上戰場。離開學校以後我與恩師完全失去聯絡，不久我自己也被徵召到高雄岡山航空場報到，經過一番嚴酷無比的魔鬼訓練，之後被分發到飛機場第一線工作，這種組裝複雜的發動機和裝砲任務，相當繁重又有危險性，我心想不久自己也會被送往南洋充當砲灰。1945年8月15日，日本無條件投降，才得以解甲還鄉。。。
／／／
節錄自《文訊》十一月號 p.154-156
◆曹永洋整理 志文出版社前總編輯│敬悼文化界的舵手──張清吉訪談錄
＿＿＿＿＿
◆曹永洋整理 志文出版社前總編輯│敬悼文化界的舵手──張清吉訪談錄
＿＿＿＿＿
【特輯目錄】暗夜裡不滅的螢光──紀念出版人張清吉
◎敬悼文化界的舵手──張清吉訪談錄 ‧曹永洋
◎與楊牧催生「新潮叢書」的回顧──追憶張清吉先生 ‧林衡哲
◎因書結緣的豐富旅程 ‧秦賢次
◎我與「新潮文庫」──向敬愛的出版家致意 ‧莫渝
◎與楊牧催生「新潮叢書」的回顧──追憶張清吉先生 ‧林衡哲
◎因書結緣的豐富旅程 ‧秦賢次
◎我與「新潮文庫」──向敬愛的出版家致意 ‧莫渝
Monday, November 19, 2018
寓言集，克雷洛夫寓言 The Fable of Ivan A. Krylov
克雷洛夫寓言集，辛未艾 譯，上海譯文，1992
(有發表之時、地、註解等資訊)
克雷洛夫寓言全集 The Fable of Ivan A. Krylov，張學曾譯，台北：志文，1999
(有插圖，惜印刷不佳) "全部改寫成散文，原文用典如 (狗的友誼)篇，就被拿掉)。
1808
1809
1811
1816
1819
1825
1834
(有發表之時、地、註解等資訊)
克雷洛夫寓言全集 The Fable of Ivan A. Krylov，張學曾譯，台北：志文，1999
(有插圖，惜印刷不佳) "全部改寫成散文，原文用典如 (狗的友誼)篇，就被拿掉)。
Ivan Andreyevich Krylov is Russia's best-known fabulist and probably the most epigrammatic of all Russian authors. Formerly a dramatist and journalist, he only discovered his true genre at the age of 40. Wikipedia
Born: February 13, 1769, Moscow, Russia
Died: November 21, 1844, Saint Petersburg, Russia
中文譯本[編輯]
- 《克雷洛夫寓言詩全集》，裴家勤譯，中國第一個詩體克雷洛夫譯本7805679975
- 《克雷洛夫寓言》 吳岩譯 ISBN 7534223334
- 《克雷洛夫寓言》 辛未艾 ISBN 7532731642
- 《克雷洛夫寓言全集》（名著名譯插圖本）屈洪、岳岩 譯 ISBN 978-7-02-003996-8 ，人民文學出版社
寓話[編集]
全203編のクルィロフ寓話は[注釈 5]、「烏と狐」「二羽の鳩」「ライオンと狐」のようにイソップやラ・フォンテーヌから、また、「隠者と熊」「潜水夫」のようにインド寓話から題材をかりたものの他は、大半が創作である。1788年にクルィロフが訳したラ・フォンテーヌ3編を読んだ、当時高名な寓話作家ドミートリエフのすすめが、寓話執筆のきっかけとなったらしい。ラ・フォンテーヌ以降の芸術作品としての寓話を発展させ、冬の詳しい描写を加えたクルィロフの物語はロシアの風土に密着し、登場する動物たちさえロシア人の風貌を備えているといわれる。
劇作や諷刺雑誌でエカチェリーナ2世の不興を買い、8年間も地方生活を余儀なくされた結果、クルィロフは反体制の思想を「イソップの言葉」で表現し、つまり真実を屈折させ自分の感情を隠す方法を編み出した、と考えられる。1817年からのポーランド語訳を初めとして、英・仏・独・伊の諸国語に翻訳された。国内でもその詩の文体はプーシキンに、ユーモアのある描写はゴーゴリに、鋭い諷刺はシチェドリンに強い影響を与えた。その他、諺のように作品に『寓話』を引用した例は、ドストエフスキーなど枚挙にいとまがない。
1806
- 樫と葦
- 聟選びのやかましい娘
- 老人と三人の若者
1808
- こおろぎと蟻
- 烏と狐
- 蛙と雄牛
- 猟場のライオン
- 狼と子羊
- 百姓と死神
- 狐と葡萄
- 蠅と旅行者
- 隠者と熊
1809
- おんどりと真珠の粒
- ライオンと蚊
- 蛙とジュピター
- ライオンと人間
- 獣の世界の疫病
- 二羽の鳩
1811
- 子烏
- 痛風と蜘蛛
- 大金持と貧しい靴屋
1816
- 狼と鶴
- 女主人と二人の召使い
1819
- 羊飼いと海
- 欲深とめんどり
1825
- 年老いたライオン
- 釜と土鍋
- 烏
1834
- ライオンと鼠[注釈 6]
脚注[編集]
注釈[編集]
- ^ 父は領地なしの没落貴族で、兵卒から昇進した尉官であり、退役時は大尉すなわち下級士官であった。『寓話』(下)吉原武安訳、日本評論社、1948年、p308、『寓話』峯俊夫訳、国文社、1988年、p307
- ^ いろいろな精霊と彼らの主人である魔王との交信の形式で、フランス文化かぶれの人間、強欲商人、無能な地主貴族らを激しく諷刺した。『寓話』(下)吉原武安訳、日本評論社、1948年、p310
- ^ 1811年に帝国公衆図書館長に、1817年には芸術アカデミー総裁に就任した。『寓話』峯俊夫訳、国文社、1988年、p309
- ^ 1843年12月、著者編集による寓話集最終版を刊行。1844年11月の没後葬式において、著者の遺志により約1000部の寓話集を参会者に配布した。『寓話』峯俊夫訳、国文社、1988年、p311
- ^ 存命中から「クルィロフお爺さんの話」として子どもたちに親しまれた。『寓話』(下)吉原武安訳、日本評論社、1948年、p308
- ^ 以上、話の題名は、峯俊夫氏の訳語にならうもの。『寓話』峯俊夫訳、国文社、1988年
出典[編集]
参考[編集]
- イヴァン・クルィロフ『寓話』(上)(下)吉原武安訳、日本評論社、1948年
- レフ・ヴィゴツキー『寓話・小説・ドラマ―その心理学』峯俊夫訳、国文社、1982年
- イヴァン・クルィロフ『寓話』峯俊夫訳、国文社、1988年
Wednesday, November 14, 2018
大仲馬Alexandre Dumas, père《三劍客》 (1844)《基度山恩仇記》
“A rogue does not laugh in the same way that an honest man does; a hypocrite does not shed the tears of a man of good faith. All falsehood is a mask; and however well made the mask may be, with a little attention we may always succeed in distinguishing it from the true face.”
―from THE THREE MUSKETEERS (1844) by Alexandre Dumas, père
―from THE THREE MUSKETEERS (1844) by Alexandre Dumas, père
Alexandre Dumas’s most famous tale— and possibly the most famous historical novel of all time— in a handsome hardcover volume. This swashbuckling epic of chivalry, honor, and derring-do, set in France during the 1620s, is richly populated with romantic heroes, unattainable heroines, kings, queens, cavaliers, and criminals in a whirl of adventure, espionage, conspiracy, murder, vengeance, love, scandal, and suspense. Dumas transforms minor historical figures into larger- than-life characters: the Comte d’Artagnan, an impetuous young man in pursuit of glory; the beguilingly evil seductress “Milady”; the powerful and devious Cardinal Richelieu; the weak King Louis XIII and his unhappy queen—and, of course, the three musketeers themselves, Athos, Porthos, and Aramis, whose motto “all for one, one for all” has come to epitomize devoted friendship. With a plot that delivers stolen diamonds, masked balls, purloined letters, and, of course, great bouts of swordplay, The Three Musketeers is eternally entertaining. READ an excerpt from the introduction here: https://www.penguinrandomhouse.com/…/the-three-musketeers-…/
《基度山恩仇記》－大仲馬 1996
---
這部以路易十三時代做背景，描寫劍客出入死的冒險經歷，使無數讀者得到身歷其境的快樂，情節波詭起伏、變化萬端，曾多次搬上螢幕讓影迷驚歎，難以忘懷。
 |
三劍客
| |
Sunday, November 11, 2018
齊克果 Soren Kierkegaard著：《誘惑者的日記》《齊克果：一生的故事》《齊克果寓言》與《克爾凱郭爾哲學寓言集》
孟祥森, 齊克果 Soren Kierkegaard, Walter Lowrie《齊克果：一生的故事》, Peter Drucker
Parables of Kierkegaard 《齊克果寓言》與《克爾凱郭爾哲學寓言集》
"Everyone who knows something about the dangers of reflection and the dangerous walk along the road of reflection also knows that it is dubious when a person, instead of getting out of the tension through resolution and action, becomes productive about his state in tension."
--from THE BOOK ON ADLER (1846-1847) by Søren Kierkegaard
--from THE BOOK ON ADLER (1846-1847) by Søren Kierkegaard
Now recognized as one of the nineteenth century’s leading psychologists and philosophers, Kierkegaard was among other things the harbinger of exisentialisim. In Fear and Trembling he explores the psychology of religion, addressing the question ‘What is Faith?’ in terms of the emotional and psychological relationship between the individual and God. But this difficult question is addressed in the most vivid terms, as Kierkegaard explores different ways of interpreting the ancient story of Abraham and Isaac to make his point. Søren Kierkegaard not only transformed Protestant theology but also anticipated twentieth-century existentialism and provided it with many of its motifs. Fear and Trembling and The Book on Adler–addressed to a general audience–have the imaginative excitement and intense personal appeal of the greatest literature. Only Plato and Nietzsche have matched Kierkegaard’s ability to give ideas so compellingly vivid and dramatic a shape. READ more here: https://www.penguinrandomhouse.com/…/fear-and-trembling-an…/
'With most authors you talk about the year a book was published. In Kierkegaard's case, you have to say the date, because he sometimes published more than one book in a month.'
On the 163rd anniversary of Søren Kierkegaard's death, Jonathan Rée confronts the horror of doubt with the Danish philosopher's unfinished work, 'Johannes Climacus'.
Read more on Kierkegaard in the LRB: lrb.me/448
58 齊克果著,誘惑者的日記. , 志文 , 出版日期: 1988
Saturday, November 10, 2018
波特萊爾Baudelaire《惡之華》； EROTIC ILLUSTRATIONS FOR BAUDELAIRE’S ‘LES FLEURS DU MAL’
2016年12月27日 星期二
波特萊爾(Baudelaire, 1821-1867)
法．波特萊爾. 翻譯：莫渝. 書名：《惡之華》、《惡之花》. 出版社：志文出版社，新潮世界名著. 出版年：1985年九月初版.
這首值得一讀：【惡之華】被禁詩篇【吸血鬼的化身】，杜國清臺大版頁300-01。
Everyman's Library
"The Vampire's Metamorphoses" by Charles Baudelaire
The woman meanwhile, twisting like a snake
On hot coals and kneading her breasts against the steel
Of her corset, from her mouth red as strawberries
Let flow these words impregnated with musk:
— "I, I have moist lips, and I know the art
Of losing old Conscience in the depths of a bed.
I dry all tears on my triumphant breasts
And make old men laugh with the laughter of children.
I replace, for him who sees me nude, without veils,
The moon, the sun, the stars and the heavens!
I am, my dear scholar, so learned in pleasure
That when I smother a man in my fearful arms,
Or when, timid and licentious, frail and robust,
I yield my bosom to biting kisses
On those two soft cushions which swoon with emotion,
The powerless angels would damn themselves for me!"
When she had sucked out all the marrow from my bones
And I languidly turned toward her
To give back an amorous kiss, I saw no more
Than a wine-skin with gluey sides, all full of pus!
Frozen with terror, I closed both my eyes,
And when I opened them to the bright light,
At my side, instead of the robust manikin
Who seemed to have laid in a store of blood,
There quivered confusedly a heap of old bones,
Which of themselves gave forth the cry of a weather-cock
Or of a sign on the end of an iron rod
That the wind swings to and fro on a winter night.
On hot coals and kneading her breasts against the steel
Of her corset, from her mouth red as strawberries
Let flow these words impregnated with musk:
— "I, I have moist lips, and I know the art
Of losing old Conscience in the depths of a bed.
I dry all tears on my triumphant breasts
And make old men laugh with the laughter of children.
I replace, for him who sees me nude, without veils,
The moon, the sun, the stars and the heavens!
I am, my dear scholar, so learned in pleasure
That when I smother a man in my fearful arms,
Or when, timid and licentious, frail and robust,
I yield my bosom to biting kisses
On those two soft cushions which swoon with emotion,
The powerless angels would damn themselves for me!"
When she had sucked out all the marrow from my bones
And I languidly turned toward her
To give back an amorous kiss, I saw no more
Than a wine-skin with gluey sides, all full of pus!
Frozen with terror, I closed both my eyes,
And when I opened them to the bright light,
At my side, instead of the robust manikin
Who seemed to have laid in a store of blood,
There quivered confusedly a heap of old bones,
Which of themselves gave forth the cry of a weather-cock
Or of a sign on the end of an iron rod
That the wind swings to and fro on a winter night.
*
This selection of poems from across the ages brings to life a staggering array of zombies, ghosts, vampires, and devils. Our culture's current obsession with zombies and vampires is only the latest form of a fascination with crossing the boundary between the living and the dead that has haunted humans since we first began writing. The poetic evidence gathered here ranges from ancient Egyptian inscriptions and the Mesopotamian epic Gilgamesh to the Greek bard Homer, and from Shakespeare and Milton and Keats to Emily Dickinson and Edgar Allan Poe. Here too are terrifying apparitions from a host of more recent poets, from T. S. Eliot and Sylvia Plath to Rita Dove and Billy Collins, from Allen Ginsberg and H. P. Lovecraft to Mick Jagger and Shel Silverstein. The result is a delightfully entertaining volume of spine-tingling poems for fans of horror and poetry both. READ an excerpt here: http://knopfdoubleday.com/book/240438/poems-dead-and-undead/
Erotic illustrations for Baudelaire’s ‘Les Fleurs du Mal’ (NSFW)
From the DM archives.
EROTIC ILLUSTRATIONS FOR BAUDELAIRE’S ‘LES FLEURS DU MAL’
An illustration from 1935 by Italian-born artist Carlo Farneti for a posthumous edition of Charles Baudelaire’s book of poetry ‘Les Fleurs du Mal.’
“That heart which flutters like a fledgling bird,
I shall tear, bleeding, from his breast, to pitch
It blandly in the dust without a word
To slake the hunger of my favorite bitch.”
—a passage from Charles Baudelaire’s poetry book, Les Fleurs du Mal.
When French poet Charles Baudelaire first published his poetry book Les Fleurs du Mal(The Flowers of Evil) in 1857 it caused quite the scandal. Baudelaire, his publisher Poulet Malassis and the book’s printer were all prosecuted for creating “an insult to public decency.” Baudelaire would eventually be convicted on two charges—obscenity and blasphemy. He was also forced to remove several poems from the book when it was republished in 1861. Below is a portion from Les Fleurs du Mal “Une Charogne” (“A Carcass”) in which Baudelaire beautifully romanticizes a decomposing corpse:
“The blow-flies were buzzing round that putrid belly,
From which came forth black battalions
Of maggots, which oozed out like a heavy liquid
All along those living tatters.Then tell the vermin as it takes its pleasance
And feasts with kisses on that face of yours,
I’ve kept intact in form and godlike essence
Our decomposed amours!”
The controversy over Les Fleurs du Mal would eventually lead to the demise of Baudelaire’s career as a poet. Heartbreakingly, Baudelaire would pass away in 1867—ten years after the publication of Les Fleurs du Mal, addicted to opium, penniless and in a state of perpetual paralysis. Les Fleurs de Mal was published yet again in 1868 to include previously unpublished poems written by the poet. This publication would reignite interest in his work which would continue to grow in the years following his death. In 1935 Italian artist Carlo Farneti created a series of evocative illustrations for Les Fleurs du Mal for Parisian bookstore Gibert Jeune. Farneti had relocated to France in 1926 and quickly became a sought-after artist creating illustrations for books by renowned French novelist Émile Zola and Edgar Allen Poe (who Baudelaire referred toas his “twin soul.”) Twelve of Farneti’s exquisite illustrations for Les Fleurs du Mal follow—some are gorgeously NSFW.
HT: 50 Watts
Subscribe to:
Posts (Atom)