2014年8月31日 星期日

The Ascent of Man《文明的躍升》The Dangers of Certainty: A Lesson From Auschwitz


2014.8.31 發現2011年有新平裝版本上市:

A new paperback edition of Dr. Bronowski's classic history of humankind, with a foreword by Richard Dawkins
Dr. Jacob Bronowksi's classic traces the development of human society through our understanding of science. First published in 1973 to accompany the groundbreaking BBC television series, it is considered one of the first works of "popular science," illuminating the historical and social context of scientific development for a generation of readers. In his highly accessible style, Dr. Bronowski discusses human invention from the flint tool to geometry, agriculture to genetics, and from alchemy to the theory of relativity, showing how they all are expressions of our ability to understand and control nature. In this new paperback edition, The Ascent of Man inspires, influences, and informs as profoundly as ever.




"我心目中要建的是一個具有教育性的,合乎時代要求國際標準的科學博物館,在學術上要能達到大學研究院的水準,在展示上要能為社會所需要,觀眾所激賞。在此之前,我翻譯了《文明的躍升》,引起很大的迴響。因此我對從科學教育的使命與目標,都有了一定的看法。"  《築人間──漢寶德回憶錄》
布羅諾斯基《文明的躍升》給我們的啟示是:人類過去的成就雖然很重要,但它必須受到無數 ...

The Ascent of Man (1974) by Wikipedia article "Jacob Bronowski".

http://www.drbronowski.com/

The Ascent of Man - Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/The_Ascent_of_Man
The Ascent of Man is a thirteen-part documentary television series produced by the BBC and Time-Life Films first transmitted in 1973, written and presented by ...








  1.  


http://deming.ces.clemson.edu/pub/den/archive/98.12/msg00067.html???






The personal commitment

夫 道 以 人 弘 . 教 以 文 明 . 弘 道 明 教 . 故 謂 之 弘 明 集

弘 明 裨 褊

前幾天 作 The Ascent of Man

去DEN 找出1998 我以前引過此書的說法

The personal commitment of a man to his skill, the intellectual
commitment and the emotional commitment working together as one, has
made the Ascent of Man.
 
 
 
 http://opinionator.blogs.nytimes.com/2014/02/02/the-dangers-of-certainty/?_php=true&_type=blogs&_r=0#more-151682
 
 
 


The Dangers of Certainty: A Lesson From Auschwitz



The Stone is a forum for contemporary philosophers and other thinkers on issues both timely and timeless.
As a kid in England, I watched a lot of television. There weren’t any books in our house,  not even the Bible. TV was therefore pretty important, omnipresent actually. Of course, most of what it delivered was garbage. But in 1973, the BBC aired an extraordinary documentary series called “The Ascent of Man,” hosted by one Dr. Jacob Bronowski in 13 hour-long episodes. Each episode was what he called an “essay” and involved some exotic and elaborate locations, but the presentation was never flashy and consisted mostly of Dr. Bronowski speaking directly and deliberately to the camera.
A scientist who warned of ‘the assertion of dogma that closes the mind, and turns a nation, a civilization, into a regiment of ghosts — obedient ghosts or tortured ghosts.’
Dr. Bronowski (he was always referred to as “Dr.” and I can’t think of him with any other, more familiar, moniker) died 40 years ago this year, at the relatively young age of 66. He was a Polish-born British mathematician who wrote a number of highly-regarded books on science, but who was equally at home in the world of literature. He wrote his own poetry as well as a book on William Blake.

He was a slight, lively, lovely man. Because it was the early ’70s, some of his fashion choices were bewilderingly pastel, especially his socks, though on some occasions he sported a racy leather box jacket. He often smiled as he spoke, not out of conceit or because he lived in California (which, incidentally, he did, working at the Salk Institute in San Diego), but out of a sheer, greedy joy at explaining what he thought was important. But there was a genuine humility in his demeanor that made him utterly likeable.

“The Ascent of Man” (admittedly a little sexist now – great men abound, but there are apparently few great women), deliberately inverted the title of Darwin’s 1871 book. It was not an account of human biological evolution, but cultural evolution — from the origins of human life in the Rift Valley to the shifts from hunter/gatherer societies,  to nomadism and then settlement and civilization, from agriculture and metallurgy to the rise and fall of empires: Assyria, Egypt, Rome.

Bronowski presented everything with great gusto, but with a depth that never sacrificed clarity and which was never condescending. The tone of the programs was rigorous yet permissive, playful yet precise, and always urgent, open and exploratory. I remember in particular the programs on the trial of Galileo, Darwin’s hesitancy about publishing his theory of evolution and the dizzying consequences of Einstein’s theory of relativity. Some of it was difficult for a 13-year-old to understand, but I remember being absolutely riveted.

The ascent of man was secured through scientific creativity. But unlike many of his more glossy and glib contemporary epigones, Dr. Bronowski was never reductive in his commitment to science. Scientific activity was always linked to artistic creation. For Bronowski, science and art were two neighboring mighty rivers that flowed from a common source: the human imagination. Newton and Shakespeare, Darwin and Coleridge, Einstein and Braque: all were interdependent facets of the human mind and constituted what was best and most noble about the human adventure.

For most of the series, Dr. Bronowski’s account of human development was a relentlessly optimistic one. Then, in the 11th episode, called “Knowledge or Certainty,” the mood changed to something more somber. Let me try and recount what has stuck in my memory for all these years.

He began the show with the words, “One aim of the physical sciences has been to give an actual picture of the material world. One achievement of physics in the 20th century has been to show that such an aim is unattainable.” For Dr. Bronowski, there was no absolute knowledge and anyone who claims it — whether a scientist, a politician or a religious believer — opens the door to tragedy. All scientific information is imperfect and we have to treat it with humility. Such, for him, was the human condition.

This is the condition for what we can know, but it is also, crucially, a moral lesson. It is the lesson of 20th-century painting from Cubism onwards, but also that of quantum physics. All we can do is to push deeper and deeper into better approximations of an ever-evasive reality. The goal of complete understanding seems to recede as we approach it.

There is no God’s eye view, Dr. Bronowski insisted, and the people who claim that there is and that they possess it are not just wrong, they are morally pernicious. Errors are inextricably bound up with pursuit of human knowledge, which requires not just mathematical calculation but insight, interpretation and a personal act of judgment for which we are responsible. The emphasis on the moral responsibility of knowledge was essential for all of Dr. Bronowski’s work. The acquisition of knowledge entails a responsibility for the integrity of what we are as ethical creatures.
All knowledge, all information that passes between human beings, can be exchanged only within what we might call ‘a play of tolerance.’
Dr. Bronowski’s 11th essay took him to the ancient university city of Göttingen in Germany, to explain the genesis of Werner Heisenberg’s uncertainty principle in the hugely creative milieu that surrounded the physicist Max Born in the 1920s. Dr. Bronowski insisted that the principle of uncertainty was a misnomer, because it gives the impression that in science (and outside of it) we are always uncertain. But this is wrong. Knowledge is precise, but that precision is confined within a certain toleration of uncertainty. Heisenberg’s insight is that the electron is a particle that yields only limited information; its speed and position are confined by the tolerance of Max Planck’s quantum, the basic element of matter.

Dr. Bronowski thought that the uncertainty principle should therefore be called the principle of tolerance. Pursuing knowledge means accepting uncertainty. Heisenberg’s principle has the consequence that no physical events can ultimately be described with absolute certainty or with “zero tolerance,” as it were. The more we know, the less certain we are.

In the everyday world, we do not just accept a lack of ultimate exactitude with a melancholic shrug, but we constantly employ such inexactitude in our relations with other people. Our relations with others also require a principle of tolerance. We encounter other people across a gray area of negotiation and approximation. Such is the business of listening and the back and forth of conversation and social interaction.

For Dr. Bronowski, the moral consequence of knowledge is that we must never judge others on the basis of some absolute, God-like conception of certainty. All knowledge, all information that passes between human beings, can be exchanged only within what we might call “a play of tolerance,” whether in science, literature, politics or religion. As he eloquently put it, “Human knowledge is personal and responsible, an unending adventure at the edge of uncertainty.”
The relationship between humans and nature and humans and other humans can take place only within a certain play of tolerance. Insisting on certainty, by contrast, leads ineluctably to arrogance and dogma based on ignorance.

At this point, in the final minutes of the show, the scene suddenly shifts to Auschwitz, where many members of Bronowski’s family were murdered. Then this happened. Please stay with it. This short video from the show lasts only four minutes or so.
Dr. Jacob Bronowski’s argument against certainty, made at Auschwitz for his show “The Ascent of Man.”
It is, I am sure you agree, an extraordinary and moving moment. Bronowski dips his hand into the muddy water of a pond which contained the remains of his family members and the members of countless other families. All victims of the same hatred: the hatred of the other human being. By contrast, he says — just before the camera hauntingly cuts to slow motion — “We have to touch people.”

The play of tolerance opposes the principle of monstrous certainty that is endemic to fascism and, sadly, not just fascism but all the various faces of fundamentalism. When we think we have certainty, when we aspire to the knowledge of the gods, then Auschwitz can happen and can repeat itself. Arguably, it has repeated itself in the genocidal certainties of past decades.
The pursuit of scientific knowledge is as personal an act as lifting a paintbrush or writing a poem, and they are both profoundly human. If the human condition is defined by limitedness, then this is a glorious fact because it is a moral limitedness rooted in a faith in the power of the imagination, our sense of responsibility and our acceptance of our fallibility. We always have to acknowledge that we might be mistaken. When we forget that, then we forget ourselves and the worst can happen.

In 1945, nearly three decades before “The Ascent of Man,” Dr. Bronowski  — who was a close friend of the Hungarian physicist Leo Szilard, the reluctant father of the atomic bomb — visited Nagasaki to help assess the damage there. It convinced him to discontinue his work for British military research with which he had been engaged extensively during the Second World War. 
 From that time onward, he focused on the relations between science and human values. When someone said to Szilard in Bronowski’s company that the bombing of Hiroshima and Nagasaki was science’s tragedy, Szilard replied firmly that this was wrong: It was a human tragedy.

Such was Dr. Bronowski’s lesson for a 13-year-old boy some 40 years ago. Being slightly old-school, I treated myself last Christmas to a DVD deluxe boxed set of “The Ascent of Man.” I am currently watching it with my 10-year-old son. Admittedly, it is not really much competition for “Candy Crush” and his sundry other video games, but he is showing an interest. Or at least he is tolerating my enthusiasm. And of course beginning to learn such toleration is the whole point.

Simon Critchley
Simon Critchley is Hans Jonas professor of philosophy at the New School for Social Research in New York and the author of several books, including “The Faith of the Faithless,” and, with Jamieson Webster, “Stay, Illusion! The Hamlet Doctrine.” He is the moderator of this series.

2014年8月28日 星期四

Emanuel Pastreich (貝一明) “跨海求真: 哈佛博士論中美未來”


“跨海求真: 哈佛博士論中美未來” (全文)

跨海求真

哈佛博士中美未


貝一明(Emanuel Pastreich)著
首爾:亞洲研究所出版社



哈佛博士的成長軌跡
耶魯中文學習記
耶魯歲月中的師生情
寶島之旅
中國交流的恩師

我們應該送給子女什麼禮物?
解密美國大學教育
二十一世紀人文教育的重要性
每一位國際關係從業者都應主修文學
教育的危機

論價值
歷史和新聞的區別
民主和參與

面向世界的中國夢
亞洲公敵:氣候變化
氣候變化的語言
生態貨幣

中美關係:弗蘭肯斯坦聯姻
中國是新冷戰的主角嗎?
美國,若只管自己的事,仍然是一個威脅嗎?
朝鮮問題

論中日關係
論島嶼爭端問題
跨世紀的福島核電站事故對策:中國的角色

一觸即發的數據危機:我們是否需要一部信息憲法?
Facebook 究竟是什麼?
Facebook 與全球治理的未來
世界真的在變小麼?
世界究竟是如何運轉的?

孔子說的“正名”是關於體制轉變的警言
性與消費
貪婪、資本主義和熱力學第二定律
消費的崛起和因果法則的終結
階級分化的複蘇
李天一與階級的再現

多元歷史成就未來中國
21世紀中國文化的意義
中國的科舉與考試制度



Kang-i Sun Chang 新增了 2 張相片。
Proud of my former student Emanuel Pastreich for publishing this amazing book; 跨海求真! (Also, Emanuel Pastreich, for mentioning me in your book, pp. 49-52. It brings back so many fond memories! Ah, but more than 30 years have passed! )

2014年8月27日 星期三

平家物語 (鄭清茂/譯注)


平家物語(上)(下)


內容簡介

  《平家物語》是一部戰爭題材的歷史小說,塑造了許多廣被傳頌的武士典型。在日本文學史上與《源氏物語》並列為二大物語經典,一文一武,菊花與劍,影響極為深遠。書中敘述平安朝末期,平家與源氏逐鹿天下,享盡榮華之際,泰極否生,一門大小先後被殲滅的淒惋過程。揭示諸行無常,盛者必衰之理;業因果報,人情義理,盡在其中。而凝練雅致的文體布局下,人物之特出,情節之殊勝,貴族的風華行止,武士的貞亮死節,以及可歌可泣的女性軼事等,莫不感人肺腑。

  本書由深耕漢和文學六十年的鄭清茂教授,依據經典「覺一本」,歷時多年完成漢譯,並詳加注釋。譯本附有珍貴彩色繪卷及年表、系譜、地圖等,是洪範又一製作嚴謹的文學名著。

  NHK電視年度紅白歌唱對抗,乃源自平家赤幟,源氏白旗;「料理東西軍」則襲自源氏東軍,平家西軍。《平家物語》的人物、事蹟,每在各種戲劇、謠曲、電影、電視中,衍繹不斷。大導演黑澤明、溝口健二、小林正樹等,皆據以拍成名片。日本有一珍貴蘭花名敦盛草,即紀念十七歲陣亡的平敦盛。他自敵陣脫困躍入海中即可上船,因敵將一句「武士豈可背對敵人」,竟返身上岸應戰,慘遭殺害。身上一枝名笛,乃天皇賜其祖父而傳下者。臨戰前夕才吹了一優雅之曲,感動許多敵軍。三百多年後,幸若舞《敦盛》是戰國強人織田信長的最愛。本能寺之變,重兵圍困下,傳說信長引火揮刀高唱《敦盛》,自裁於烈焰中。類似淒絕動人故事甚多,流傳不斷,歷久彌新,都是日本文化、生活的一部分。
 

作者介紹

譯者簡介

鄭清茂


  臺灣嘉義人,1933年生,國立臺灣大學中文系學士、碩士,美國普林斯頓大學東亞學博士,其間曾赴日研究。前後任教於美國加州大學柏克萊分校,麻州大學,國立臺灣大學日文系及國立東華大學中文系,為專精漢、和文學之知名學者。著有《中國文學在日本》,譯有吉川幸次郎《元雜劇研究》、《宋詩概要》、《元明詩概說》及松尾芭蕉《奧之細道》等多種。林文月教授說鄭清茂的筆致傾向枯淡清遠,是她所識同儕中書寫古雅「候文」(日本文言文),能與前一輩日本文人「平起平坐」唯一的人。
 

目錄

 譯者序
 關於《平家物語》
 例言

卷第一
 一、祇園精舍
 二、宮中謀害
 三、鱸魚
 四、禿童
 五、吾身榮華
 六、祇王
 七、二代皇后
 八、立匾爭議
 九、火燒清水寺
 十、立東宮
 十一、爭路
 十二、鹿谷
 十三、鵜川之役
 十四、許願
 十五、神輿
 十六、大內火災

卷第二
 一、座主流放
 二、一行阿闍梨
 三、西光被斬
 四、勸說
 五、求情
 六、諫諍
 七、烽火
 八、大納言流刑
 九、阿古屋之松
 十、大納言之死
 十一、德大寺
 十二、山門滅亡
 十三、善光寺失火
 十四、康賴祝文
 十五、卒都婆傳書
 十六、蘇武

卷第三
 一、赦書
 二、頓足
 三、皇子誕生
 四、公卿會
 五、整修大塔
 六、賴豪
 七、少將還京
 八、有王
 九、僧都之死
 十、旋風
 十一、醫師問答
 十二、無文佩刀
 十三、燈籠
 十四、捐獻黃金
 十五、法印問答
 十六、大臣流罪
 十七、行隆
 十八、幽禁法皇
 十九、城南離宮

卷第四
 一、臨幸嚴島
 二、回鑾
 三、源氏名錄
 四、黃鼠狼
 五、信連
 六、競
 七、牒狀往來
 八、評議會
 九、大眾會合
 十、橋頭之戰
 十一、高倉宮之死
 十二、王子出家
 十三、通乘
 十四、鵼
 十五、三井寺被焚

卷第五
 一、遷都
 二、賞月
 三、怪物
 四、快馬
 五、朝敵名單
 六、咸陽宮
 七、文覺苦修
 八、募化狀
 九、文覺被流
 十、福原院宣
 十一、富士川
 十二、五節會
 十三、還都
 十四、奈良火災

卷第六
 一、高倉上皇駕崩
 二、紅葉
 三、葵姬
 四、小督
 五、傳檄
 六、飛腳傳書
 七、入道死去
 八、築島
 九、慈心房
 十、祇園女御
 十一、嘶啞聲
 十二、橫田河原之戰
卷第七
 一、清水冠者
 二、北伐
 三、竹生島
 四、火打城之戰
 五、禱文
 六、俱利迦羅谷
 七、篠原會戰
 八、實盛
 九、玄肪
 十、木曾通牒
 十一、回牒
 十二、平家連署
 十三、聖上出奔
 十四、維盛出奔
 十五、忠度出奔
 十六、經正出奔
 十七、青山來歷
 十八、一門出奔
 十九、放棄福原

卷第八
 一、臨幸山門
 二、名虎
 三、麻線圈
 四、撤退大宰府
 五、征夷大將軍
 六、貓間
 七、水島之戰
 八、瀨尾之死
 九、室山
 十、鼓判官
 十一、法住寺之戰

卷第九
 一、生食與拓墨
 二、宇治川爭魁
 三、河原會戰
 四、木曾之死
 五、樋口受斬
 六、六度交戰
 七、三草點將
 八、三草會戰
 九、老馬
 十、一二之爭
 十一、二入敵陣
 十二、馳馬懸崖
 十三、越中前司之死
 十四、忠度之死
 十五、重衡被擒
 十六、敦盛之死
 十七、知章之死
 十八、東逃西竄
 十九、小宰相跳海

卷第十
 一、驗收首級
 二、宮中女官
 三、屋島院宣
 四、覆文
 五、受戒
 六、東海道上
 七、千手姬
 八、橫笛
 九、高野山
 十、維盛出家
 十一、參拜熊野
 十二、維盛投水
 十三、三日平氏
 十四、藤戶
 十五、大嘗會

卷第十一
 一、逆櫓
 二、勝浦大坂越
 三、嗣信之死
 四、那須與一
 五、海上撈弓
 六、志度之戰
 七、壇浦會戰
 八、遠箭
 九、安德帝投海
 十、能登殿之死
 十一、神鏡返京
 十二、寶劍
 十三、遊街示眾
 十四、神鏡故事
 十五、文件箱
 十六、副將被斬
 十七、腰越
 十八、大臣宗盛被斬
 十九、重衡被斬

卷第十二
 一、大地震
 二、印染師
 三、平大納言被流
 四、土佐房被斬
 五、判官出奔
 六、吉田大納言
 七、六代公子
 八、泊瀨六代
 九、六代被斬

灌頂卷
 一、女院出家
 二、遷居大原
 三、行幸大原
 四、六道
 五、女院逝世

附錄
 《平家物語》年表
 重要官職位階表
 地圖:
  平安時代國名地圖
  平安京條坊圖
  平安京大內裡圖
  平安京內裡圖
  京都周圍地圖
  比叡山周圍地圖
  重要戰役地圖
  瀨戶內海周圍地圖
  壇浦周圍地圖
 世系圖:
  皇家系圖
  平家系圖
  源氏系圖
主要參考書目

導讀

關於《平家物語》(節錄)


  《平家物語》是一部「軍記物語」,即以戰爭為主要題材的歷史小說。其在日本文學史上的地位,僅次於《源氏物語》,並列為日本二大物語經典之作。《源氏物語》成書於平安時代中期,約當西元十一世紀初頭,一般公認是世界上最早的長篇寫實小說。現在已有林文月教授、豐子愷先生等人的不同漢譯本,對世界各地的漢語讀者並不陌生。至於《平家物語》,雖有周作人先生〔未完,申非補譯〕、王新禧等人的譯本;網路上也偶有零星的翻譯或介紹,但與《源氏物語》相比,在漢語圈內知之者並不太多。

  《平家物語》的歷史背景是平安時代末期,即十二世紀後半,大約與中國南宋孝宗(一一六二-一一八九)與光宗(一一八九-一一九四)在位時重疊。但其成書則在數十年之後,才出現簡單的雛形。據常被引用的吉田兼好《徒然草》(一三三一前後)第二二六段載有一種說法:後鳥羽天皇讓位而為上皇時(一一九八-一二二一),比叡山天臺座主慈鎮和尚(原名慈圓,一一五五-一二二五)招致有一藝之長的人於門下。其中有退隱修佛的信濃國(一說下野國)前司藤原行長,頗能通曉典章制度與掌故。

  此行長入道作平家之物語,授之與盲者生佛,使講唱之。其敘山門(比叡山)之事極為詳盡。於九郎判官(源義經)之事,似亦耳熟能詳而據實成說。至於蒲冠者(源範賴)之事則所知有限,故多有遺漏而未克記錄者。有關武士與弓馬之事,因生佛為東國之人,故可問之於武士而使書之。彼生佛天賦之聲調,仍為今日琵琶法師學習之典範也。

  如果此說可信,則在十二、三世紀之交,平家故事經由琵琶法師的講唱,已開始在日本各地傳播開來,而且可以想像相當受到歡迎。值得注意的是在《平家物語》的形成過程中,無論在詞章的撰寫或講唱的腔法上,從一開始就與佛教徒發生了密切的關係。

  有人認為《平家物語》是「鎮魂」的文學。因為自保元(一一五六)、平治(一一五九)之亂以來,尤其在源平兩家逐鹿天下期間,枉死者不可勝數;又因為陸續發生了饑饉、地震等天災,世人總以為怨靈作祟所致,於是公家與民間時有安魂的儀式或法會。佛教界大慈大悲,以為責無旁貸,捨我其誰,便由盲人琵琶法師結合講史與聲明唱導的方式,彈唱源平兩家盛衰的故事,順便宣導「欣求淨土」的往生思想。一則濟度亡魂,祈其往生淨土;一則寓教於樂,以娛聽眾為生。所謂「平家琵琶」或「平曲」於焉產生。

  然而,有如《三國志演義》或《水滸傳》的成書過程,其後平曲也經過了漫長的口授心傳的階段。不一定全有文字記錄。只不過在此期間,不斷吸收了俗間的傳說,又參考了當時陸續出現的相關日記、筆記等公私文字記錄,加以講唱者有意無意的改動或修飾,內容肯定越改越豐富,越講越引人。以後經過了鎌倉時代(一一九二-一三三三),到了室町時代初期,有「沙門覺一」者,在《平家物語》後題跋云:

  維時應安四年辛亥三月十五日,《平家物語》一部十二卷(附〈灌頂〉)。當流之師說、傳受之秘訣,一字不闕,令以口筆書寫之,讓與定一檢校訖。抑且愚質餘命既過七十,浮生後事難期。而大去之後,諸弟子中若有廢忘之輩,雖僅一句,其將引起爭論無疑。是以令書而留之,以備今後查證。(原文為擬漢文體,即和化漢文,略加改動)。

  應安四年(一三七一)距上舉「行長入道作平家之物語」,已過了一百五十多年。覺一在平曲的發展史上,不但帶頭整理了《平家物語》的詞章文本,成為後來通行最廣的所謂「覺一本」原形,而且組織散漫的盲人琵琶法師為一同業團體,依各人的師承年資,分為檢校、別當、勾當、座頭四級,奠定了平曲以後長達兩百年盛況的基礎。有名的五山禪僧中嚴圓月(一三〇〇-一三七五)有漢詩〈與覺一〉云:「殷鑑昏昏不拂塵,衰周列國併成秦。白旗赤幟相攘敓,一曲琵琶愁殺人。」(《東海一漚集》)可知覺一等人彈唱的平曲在五山禪僧間也頗受歡迎。(按:白旗赤幟分別代表源氏與平家)。

  其實在生佛之後,不久平曲就分為八坂流與一方流兩大派系。覺一屬於一方流,勢力較大,流傳最久。不過到了十五世紀中葉,覺一的徒孫輩也開始分道揚鑣,各立派系,互相競爭,自然導致了彈唱文本的差異。況且還有八坂流等平曲流派。此外更有專供閱讀用的許多所謂「讀本」系本子。因此,《平家物語》所傳異本之多,在日本的古典文學中前所未見。而學者之間,對於參與編寫的歷代作者〔群〕像,以及不同傳本在各階段演變的具體情形,雖然各有說法,似乎也言之成理,但多半止於猜測,迄無定論。不像《三國志演義》之有羅貫中,《水滸傳》之有施耐庵,蓋有文獻可徵也。

  現在通行的《平家物語》系屬覺一本,共十二卷,附加〈灌頂卷〉,敘述平安時代末期,平家在與源氏逐鹿過程中由盛而衰而亡的故事。全書大致可以分成前後兩大半:第一卷到第六卷為前半,敘述平家興盛至極而漸露衰像;第七卷到第十二卷為後半,敘述平家屢遭慘敗而終至滅亡。敘述方法兼用編年體與紀傳體。凡是有關重要事件的呈現,則使用編年之法,即依年月日之先後,往往跨越章節以敘其來龍去脈。對重要角色或特殊人物的描寫,則採用紀傳之體,多以單一章節結束,而且時時利用倒敘之筆。《平家物語》所用文體合稱「和漢混淆體」,即兼採當代和文、和化漢文、漢文訓讀體、候文等,因時因地因人之宜而用之。各體競秀,文趣盎然。

  物語所涉及的歷史時間,雖然始自長承元年(一三三二)平忠盛敕許初登「殿上之間」,終於建久十年(一一九九)源賴朝死去,長達約七十年之久,然而其敘述重心則從治承元年(一一七七)的「鹿谷密謀」(卷第一〈鹿谷〉)開始,經過治承四年源氏舉兵後之一連串戰役,到元曆二年(一一八五)平家一門亡於壇浦會戰為止,前後不到十年,卻佔了全書約九成的篇幅。因為源平兩家爭霸的幾次大小會戰,都發生在治承年間(一一七七-一一八四),所以早期又有《治承物語》之稱。

  《平家物語》第一卷開宗明義〈祇園精舍〉章,就提出「諸行無常、盛者必衰」之理;並舉「六波羅入道前太政大臣平朝臣清盛公」為「驕奢者不得永恆,跋扈者終遭夷滅」的例證之一。平清盛(一一一八-一一八一)便是《平家物語》的主要人物。至少在前半部,卷第六〈入道死去〉章之前,專權跋扈,為所欲為;一門榮華無與倫比。然而泰極否生。自從平清盛嫡子重盛贖罪而死之後,死神就緊纏著平家不放。於是,有罹熱病而悶死者、有在會戰中陣亡者、有投水自盡者、有被捕而後梟首者。死法千變萬狀。到了平維盛的公子六代被斬之後,「平家的子孫便永遠斷絕了。」(卷第十二〈六代被斬〉)。使用一連串死亡的意象來誇飾平家的絕滅,也是《平家物語》書寫策略之一。

  人生無常。有生必有死,誰能無死?是以死亦人生無常之常。但是對生而為人者,無論好人壞人,不管強者弱者,死總是被認為最大的不幸。誰能甘心一死了之?於是佛教唱導者出現了。尤其是淨土宗的說法,即使生前惡貫滿盈、苦海無邊,只須在死前之剎那具無上虔誠心,念佛一遍或十遍,就有阿彌陀佛與眾菩薩前來迎接,往生極樂淨土,而獲得贖罪而擺脫無常之悲。由此觀之,在全書最後的〈灌頂卷〉中,那位經過大風大浪,嘗盡人生一切哀樂榮辱的建禮門院,在寂寞的寂光院中,悟出六道輪迴之旨而向後白河法皇縷縷傾吐其一生之原委,終於在紫雲飄緲中,安安靜靜地被迎往極樂世界。此時,寂光院的鐘聲似乎遙遙呼應著祇園精舍的鐘聲:「諸行無常之響」。

  無常是《平家物語》的中心主題。然而一部偉大的作品,經過多數作家的參與與長期的演變,在不偏離中心主題的原則之下,有心或無意之間,難免會衍生或附加新的旨趣、面貌或視野。最常被提到的是:時代的反映。平安時代是貴族治國的時代。但是到了末葉,約當十二世紀,地方武士階級崛起。貴族權勢旁落之後,先是源平兩家在朝廷分庭抗禮,平起平坐。但不旋踵間平家架空皇室,排除異己,獨攬國政;胡作非為,大失人心。最後源氏反敗為勝,取而代之,建立了幕府體制,在日本歷史上開始了長達六百多年的武家政治。《平家物語》所反映的正是此一大變革的大時代。在如此重大的政治與社會變革過程中,平清盛的所作所為儘管受人詬病,但其歷史意義並不下於建立幕府的源賴朝。

  其次,值得一提的是所謂戰爭的意涵。覺一本《平家物語》所寫的戰爭,從個人的對打、氏族間的爭鬥、地方的暴動,以至全國性的內亂,不一而足。但與其他前此或同代的戰爭書寫相較,卻有明顯的不同之處。仔細觀察書中的戰爭場面,自第四卷以後,逐卷數而增多。不過每臨大小戰役固然講究戰術的運用,至於戰爭場面的描述卻能簡則簡,而偏重不同人物的臨場表現與反應,藉以塑造人物的個別形象。因此,是勇者或懦夫,是君子或小人,是遠謀或短視,往往於此表露無遺。還有一個有趣的特色。戰鬥廝殺不免流血,但是覺一本《平家物語》的戰場卻見不到任何血跡。戰爭的過程有時被公式化或抽象化成:互射鳴鏑,吶喊開戰,經過廝殺後,勝方摘取敗者首級,然後遊街示眾,梟首獄門。彷彿例行公事。不霑一滴血。將血肉橫飛的場面交給讀者或聽者自己去想像。

  或有人認為《平家物語》是剛、硬的文學,與《源氏物語》的柔、軟恰成對照,強調二者迥然不同。其實並不盡然。的確,兩個物語的主要舞台與人物:一是活躍於京都宮廷的封閉空間、不少為情所困的貴冑男女;一是奔馳於東西各國的廣大地區、無數赴湯蹈火的武士與僧兵。然而,站在日本文學發展史的觀點,兩大物語前後相隔二百多年,文學與時推移,其間自然不可能沒有鴻溝。只是一有鴻溝就有架橋者,讓傳統繼續走下去,所以即使在此剛硬的軍記物語中,也留下了不少平安時代宮廷式的精神風貌與風流韻事,而且明顯有跡可尋。市古貞次教授指出:

  《平家物語》是平家的輓歌,是催人哀傷的死亡的文學。…是描寫無數人們含著眼淚而行動的「哀」的物語。平安時代的文學精神是「哀」。而一般認為《源氏物語》的基調便是「物之哀」,因此本書也可視為繼承了「哀」之傳統的作品。固然「哀」的內涵隨時在變,但也不能因而就忽視平安時代以來物語一脈相承的流風遺韻。(《平家物語‧解說》)

  所謂「物之哀(物のあはれ)」是日本傳統的美學概念。直截了當地說,就是人情的本質。人類外則感於四季八節之推移,而內則困於七情六欲之搖蕩,自然而然產生一種人生的興味。此種興味本來應該是中立的,代表著和諧、平衡、優美、哀而不傷的境界,不過人「情主於傷痛」(劉勰《文心雕龍‧哀悼》),因而「物之哀」的概念,一開始就先天地內含著偏重於「哀」的傾向。在《平家物語》之中,死亡的故事連篇累牘,在感歎諸事無常之餘,在流不盡的閃閃淚光下,「哀」儼然變成了全書的主調了。

  《平家物語》雖是一群男人所創的男性的軍記物語,但在書中卻置入了許多可歌可泣的女人軼事,處處還看得到平安女流文學的遺跡。例如祇王、葵姬、小督、小宰相、千手姬、橫笛、建禮門院等,都是各有專章的人物。或善和歌,或操管絃。形象特出,各具個性,為全書帶來了點點鮮豔的異彩。然而正如某評家所言,《平家物語》在描寫男女愛情時,往往陷於單純化或類型化,對於苦惱背後的無奈與空虛,無暇也未能深入體會觀照,自然難與《源氏物語》的纖細緻密相比(高木市之助等《平家物語‧解說》)。或許可以說,《平家物語》的重點不在談「情」。就承襲平安王朝貴族文化而言,平家武士其實也不甘落後。文化只有演進、變容,不可能截然而斷。平家既然擁有天下,豈能永遠當鄉巴佬?於是也仰慕貴族的文化生活,而且在一門滅亡之前早已出現了不少文采風流的武士。和歌、琵琶、笛子等皆有名手,可見其在日本文化史上承前啟後的角色。

鄭清茂


Daniel Barenboim West-Eastern Divan Orchestra: Uniting Arabs, Israelis /音樂的極境:薩依德音樂評論集 Music at the Limits By Edward W. Said



http://www.bbc.com/culture/story/20140822-music-uniting-arabs-and-israelis

West-Eastern Divan Orchestra: Uniting Arabs, Israelis

Clemency Burton-Hill





Daniel Barenboim conducts the West-Eastern Divan Orchestra (Reuters)
Legendary conductor Daniel Barenboim leads an orchestra that brings together people from groups in conflict in the Middle East. Clemency Burton-Hill reports.On the last night of the year in 2008, I received an email I’ll never forget.

A few weeks prior – following an impromptu audition backstage at the Metropolitan Opera in New York – I had been invited by the conductor Daniel Barenboim to join the members of his West-Eastern Divan Orchestra as an embedded journalist and ‘honorary violinist’ on their 10th anniversary tour.

Barenboim is an Argentine-born Israeli, who now also holds a Palestinian passport. In 1999, he founded the West-Eastern Divan – the title is based on a set of poems by Goethe – with the late Palestinian literary critic Edward Said. In inviting me to go on tour with the Divan, as it is known by its members, he was offering me a completely unique opportunity to witness the workings of the orchestra – which is made up of over one hundred Israeli and Arab musicians from the very heart of the orchestra, inside the ranks of the first violins.
We were to go to Qatar, Egypt, Russia, Germany, Austria and Italy in early January. We were to play music by Beethoven, Verdi, Wagner, Mozart and Schönberg. And we would perform in some of the world’s greatest halls including Vienna’s Musikverein and Milan’s La Scala.

And then, on 27 December, war broke out in Gaza. I wondered what this would mean for the West-Eastern Divan. Would any orchestral members boycott the tour? Would it all go ahead as planned? When the chips were down, how truly committed were this group of young musicians from opposite sides of the divide to engaging with each other? On New Year’s Eve, I clicked open my inbox. The tour dates in Doha and Cairo had been cancelled for security reasons; Maestro Barenboim would understand and support any member of the orchestra who felt they could not join the tour in “such difficult circumstances for everyone involved”; but it was times like these that made the existence of the Divan all the more vital. Attached to the email was an editorial Barenboim had written about the war in Gaza, which also laid out his three wishes for the New Year.

In the end, not a single Arab or Israeli member of the Divan boycotted that tour: from Israel, from the Palestinian territories, from Syria, Lebanon, Jordan and Egypt, they came together for a tough, but triumphant, two weeks.

And it was a fortnight that changed my life. The West-Eastern Divan is not an ‘orchestra for peace’, as it is so often dubbed, but an ‘orchestra against ignorance’ – mine, too. It is a singular space in which human beings who are otherwise forcibly kept apart can come together to exchange ideas and views, learn about each other and, above all, listen to each other in a world that would otherwise keep them silent.

No barriers

I have thought often about that New Year email and Barenboim’s three wishes for Gaza since the latest war in the region began in July. Here we are, over five years later, and the situation in the Middle East is somehow – unimaginably – worse.

And yet the members of the West-Eastern Divan meet on, play on and through their courage in the face of increasing hostility at home – not a single government represented by the orchestra’s members gives them its blessing – they are the living, breathing proof of a model in which Arabs and Israelis do come together. It isn’t perfect: there is plenty of disagreement within its ranks; but nor is it the product of some kind of utopian idealistic vision. Since the orchestra’s almost accidental inception fifteen years ago, hundreds of Arabs and Israelis have participated, and their daily discussions and debates about the conflict and the situation in the Middle East are as fundamental to their programme as the music rehearsals and concerts.

Engaged on their annual summer tour, which this year includes their own 10-day festival in Buenos Aires as well as major music festivals in Lucerne, Salzburg and Berlin, Barenboim and the West-Eastern Divan arrived in London the week of 18 August. Against a backdrop of broken ceasefire announcements and unbroken strife between their peoples back home, the orchestra gave a BBC Proms performance 20 August that ended in no fewer than five encores from the rapturous audience at the Royal Albert Hall. Wherever you are in the world, you can listen to the concert here via the BBC Radio 3 website.



Hundreds of Arabs and Israelis have participated in the orchestra since its inception fifteen years ago (Corbis)



With a programme that included Ravel’s beautiful Pavane for a Dead Princess and special commissions by two Middle Eastern composers, the Israeli Ayal Adler and the Syrian Kareem Roustom, it is hard to think of a more moving concert. As in 2009, no members of the orchestra have boycotted this tour, and backstage the sense of communal pride that even in this year of all years they were doing this was palpable. No question: Israeli, Palestinian, Syrian, Jewish, Muslim, Christian – they were in this together.

Out of many, one

“The only way out of this tragedy, the only way to avoid more tragedy and horror, is to take advantage of the hopelessness of the situation and force everybody to talk to one another,” Barenboim commented in the Guardian on the situation in Gaza a few weeks ago, speaking of a “need for a mutual feeling of empathy, or compassion”. He went on: “in my opinion, compassion is not merely a sentiment that results from a psychological understanding of a person’s need, but it is a moral obligation. Only through trying to understand the other side’s plight can we take a step towards each other.”

Notwithstanding those Arab and Israeli commentators who view Barenboim and his orchestra as ‘traitors’ to their people for what they view as normalising relations with the enemy, many otherwise sympathetic people might view the idea of taking steps towards each other through music with outright cynicism. “But what difference can music make?” is a refrain I have heard over and over again when discussing the Divan. “Isn’t all this just spectacularly naïve?”

Over the years, I have interviewed Barenboim on many occasions and I can say with certainty that he is the least naïve person I have encountered. His polymathic intellect is not only razor-sharp but highly analytical. Of course, he is under no delusion that music might directly create the conditions for peace in the region. But, as he said on the BBC’s Newsnight programme: in these times “we cannot afford the luxury of pessimism”.

The model of the West-Eastern Divan is utterly unique. On a musical level, it can proudly take its place along with the myriad great orchestras that grace the Proms – it contains within its ranks many leading musicians including a former Concertmaster of the Berlin Philharmonic. But that person, an Israeli, Guy Braunstein, shares a desk with a 17-year-old Palestinian named Yamen Saadi.

The Divan not only encourages, but dares us to imagine what might – still, somehow – be possible one day.
大都會不缺錢,也不缺人才,為什麼這麼多人到這家美國首息歌劇院的時候,接受這麼低的標準?謎底是,大都會對正典採取博物館式的態度,而不是採取前衛的立場,因此一再辜負它所照顧的傑克,而不是仔細、用心製造它們
Edward W. Said 《音樂的極境‧特洛依人》台北:太陽社2010,頁257

 

 

音樂的極境:薩依德音樂評論集 Music at the Limits

《音樂的極境》是薩依德論樂橫跨三個十年的第一本文集,他討論許多作曲家、音樂家、演奏家,在過程中抽繹音樂的社會、政治、文化脈絡,連帶發揮他古典鋼琴家的素養,對古典音樂和歌劇提供豐富而且不時出人意表的評價。
全書以清新的角度賞析經典作品,也以他人不及的眼光品題為人冷落的當代作曲家作品。薩依德批評紐約大都會歌劇院過於保守,也惋惜帕華洛帝有超級巨星之 譽,卻「將歌劇演出的智慧貶到最低,把要價過高的噪音推到最大」。此外,他思考以色列禁演華格納的問題,音樂節愈來愈浮濫的令人憂心趨勢,以及以馬爾孔X 生平為主題的歌劇,音樂與女性主義的關係,鋼琴家顧爾德,及莫札特、巴哈、理查史特勞斯等名家的作品。
薩依德以內行人的造詣,權威的身 分,書寫精闢犀利的批判。他在音樂裡看出文學與歷史理念的反映,並密切觀察其構成和創造的潛力。《音樂的極境》情文並茂,處處發人深省,呈現薩依德思想事 業的一個重要層面,進一步證明,作為廿世紀最具影響力、最勇於突破的學者之一,他實至名歸。
薩依德除了著名的後殖民論述,並精通文化研 究與音樂,本身具有鋼琴演奏家的水準,終身對西方古典音樂擁有激情,《音樂的極境》收集1983-2003年間的音樂評論,他以專業樂評家的角色討論作為 文化場域的古典音樂,清晰深入。本書的出版呈現薩依德更全面和多方位的專長與論述,可彌補過去中文翻譯與評介的不足。
薩依德在《音樂的 極境》談論音樂以鋼琴和歌劇為主,本精選輯亦選取這兩類作品,包括顧爾德彈奏的巴哈G大調第五號鋼琴組曲、哈絲改編的巴哈聖詠曲鋼琴版〈耶穌,世人渴望的 喜悅〉、土耳其國寶級女鋼琴家Idil Biret詮釋的蕭邦,以及被稱為「擁有近數十年來最強卡司陣容」的《費黛里奧》歌劇選曲等。
作者簡介
薩依德 Edward W. Said
1935年生於巴勒斯坦的耶路撒冷,接受過英式教育,取得哈佛大學博士學位,哥倫比亞大學英文系與比較文學教授,擔任《The Nation》雜誌樂評,著作等身,包括《鄉關何處》、《文化與帝國主義》、《東方主義》。他由哥倫比亞大學出版社出版的著作包括《康拉德與自傳小說》、 《人文主義與民主的批評》、《開始:意圖與方法》、《音樂的闡釋》,及《並行與弔詭》。2003年逝於紐約。
譯者簡介
彭淮棟
1953年生。譯有《後殖民理論》(Bart Moore-Gilbert)、《意義》(博藍尼)、《俄國思想家》(以撒.柏林)、《自由主義之後》(華勒斯坦)、《西方政治思想史》(麥克里蘭)、 《鄉關何處》(薩依德)、《現實意義》(以撒.柏林)、《貝多芬:阿多諾的音樂哲學》(阿多諾)、《美的歷史》和《醜的歷史》(艾可)等書。

Music at the Limits

Edward W. Said

Paper, 344 pages,
ISBN: 978-0-231-13937-3
$22.50
November, 2007
Cloth, 344 pages,
ISBN: 978-0-231-13936-6
$29.95

Music at the Limits is the first book to bring together three decades of Edward W. Said's essays and articles on music. Addressing the work of a variety of composers, musicians, and performers, Said carefully draws out music's social, political, and cultural contexts and, as a classically trained pianist, provides rich and often surprising assessments of classical music and opera.

Music at the Limits offers both a fresh perspective on canonical pieces and a celebration of neglected works by contemporary composers. Said faults the Metropolitan Opera in New York for being too conservative and laments the way in which opera superstars like Pavarotti have "reduced opera performance to a minimum of intelligence and a maximum of overproduced noise." He also reflects on the censorship of Wagner in Israel; the worrisome trend of proliferating music festivals; an opera based on the life of Malcolm X; the relationship between music and feminism; the pianist Glenn Gould; and the works of Mozart, Bach, Richard Strauss, and others.

Said wrote his incisive critiques as both an insider and an authority. He saw music as a reflection of his ideas on literature and history and paid close attention to its composition and creative possibilities. Eloquent and surprising, Music at the Limits preserves an important dimension of Said's brilliant intellectual work and cements his reputation as one of the most influential and groundbreaking scholars of the twentieth century.

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About the Author

Edward W. Said (1935-2003) was University Professor of English and Comparative Literature at Columbia University. He was the music critic for the Nation and the author of numerous books, including Out of Place, Culture and Imperialism, and Orientalism. His books with Columbia University Press include Joseph Conrad and the Fiction of Autobiography, Humanism and Democratic Criticism, Beginnings: Intention and Method, and Musical Elaborations.



音樂的極境(CD版)-ARROW002
I S B N:9868538831
I S B N 13:9789868538832
原始書名:MUSIC AT THE LIMITS
作 者:薩依德
精平裝/頁數: 平裝本 / 420頁
出版社:太陽社娛樂事業有限公司
出版日: 98/12/08

中文世界第一本薩依德音樂評論集!超過20年的音樂評論專欄,結合驚人的廣度和具有感染力的熱情
中研院歐美所單德興教授推薦
《音樂的極境》是薩依德論樂橫跨三個十年的第一本文集,他討論許多作曲家、音樂家、演奏家,在過程中抽繹音樂的社會、政治、文化脈絡,連帶發揮他古典鋼琴家的素養,對古典音樂和歌劇提供豐富而且不時出人意表的評價。
全 書以清新的角度賞析經典作品,也以他人不及的眼光品題為人冷落的當代作曲家作品。薩依德批評紐約大都會歌劇院過於保守,也惋惜帕華洛帝有超級巨星之譽,卻 「將歌劇演出的智慧貶到最低,把要價過高的噪音推到最大」。此外,他思考以色列禁演華格納的問題,音樂節愈來愈浮濫的令人憂心趨勢,以及以馬爾孔X生平為 主題的歌劇,音樂與女性主義的關係,鋼琴家顧爾德,及莫札特、巴哈、理查史特勞斯等名家的作品。
薩依德以內行人的造詣,權威的身分,書寫精闢犀 利 的批判。他在音樂裡看出文學與歷史理念的反映,並密切觀察其構成和創造的潛力。《音樂的極境》情文並茂,處處發人深省,呈現薩依德思想事業的一個重要層 面,進一步證明,作為廿世紀最具影響力、最勇於突破的學者之一,他實至名歸。
薩依德除了著名的後殖民論述,並精通文化研究與音樂,本身具有鋼琴演 奏家的水準,終身對西方古典音樂擁有激情,《音樂的極境》收集1983-2003年間的音樂評論,他以專業樂評家的角色討論作為文化場域的古典音樂,清晰 深入。本書的出版呈現薩依德更全面和多方位的專長與論述,可彌補過去中文翻譯與評介的不足。

作者介紹

薩依德 Edward W. Said
1935 年生於巴勒斯坦的耶路撒冷,接受過英式教育,取得哈佛大學博士學位,哥倫比亞大學英文系與比較文學教授,擔任《The Nation》雜誌樂評,著作等身,包括《鄉關何處》、《文化與帝國主義》、《東方主義》。他由哥倫比亞大學出版社出版的著作包括《康拉德與自傳小說》、 《人文主義與民主的批評》、《開始:意圖與方法》、《音樂的闡釋》,及《並行與弔詭》。2003年逝於紐約。
關於譯者
彭淮棟
1953 年生。譯有《後殖民理論》(Bart Moore-Gilbert)、《意義》(博藍尼)、《俄國思想家》(以撒.柏林)、《自由主義之後》(華勒斯坦)、《西方政治思想史》(麥克里蘭)、 《鄉關何處:薩依德回憶錄》、《現實意義》(以撒.柏林)、《貝多芬:阿多諾的音樂哲學》(阿多諾)、《美的歷史》和《醜的歷史》(艾可)等書。

名人/編輯推薦

★ 他是為他的民族爭取權利的鬥士、無與倫比的知識分子,兼為最深層意義上的音樂家:他以他的音樂體驗與知識,作為他政治、道德、思想上的信念的根據。他關 於音樂和音樂演出的論述,既賞心,復益智,只是聯想之際多遐想,而行文至為典雅,佳處精采照人,富於獨創,充滿出人意表,只有他能揭露的啟示。
──國際名指揮家兼鋼琴家巴倫波音
★此書讓我們深入了解薩依德作為樂評家的心路歷程。他淵博的音樂知識,以及他深厚的音樂與政治信念,在全書流露無餘。薩依德筆鋒充滿挑戰性,機趣洋溢,飽學睿智,為我們這時代的音樂和音樂家提供既令人手不釋卷,又充滿批判性的寫照。
──哥倫比亞大學哲學系教授、音樂學者Lydia Goher
★薩依德冷眼熱心,運用他多才多藝的學養討論他擁有深厚理解的音樂。他以此為主軸,優遊社會、歷史、文學、哲學、政治思考之間,穿針引線,創構一個宏大、統一、充滿慧見的整體。薩依德文筆清晰、熱情,斯人已杳,但全書字裡行間迴響的氣勢和活力,使我們如聞其聲,如見其人。
──鋼琴家魯普,葛萊美獎得主
★在這本精采層出的文集裡,薩依德貫注他的才智與精純的音樂感性,探討林林總總的專題,構成這位入世、熱情批評家境界深廣的音樂沉思。拜讀薩依德的辭采和雄辯,再度令人想起我們痛失一位如此傑出的樂評家。
──索羅門,茱莉亞音樂學院
★ 這本書裡,一位造詣精熟的音樂家兼文化理論家與巴哈到貝多芬、華格納到布列茲、布倫德爾到巴倫波因、莫札特到理查史特勞斯的所有大師互動,放出令人眼亮的 交會光芒。鋼琴家顧爾德的身影也籠罩全書許多篇幅。薩依德懷著精博的音樂知識和修養,以開放的心靈、開放的眼睛、開放的耳朵探觸音樂所有層面,無論是現 場、錄音、談話或著述,並搭起橋樑,將音樂連接於其他藝術,以及人生的政治和倫理層次。
──琳達赫岑,多倫多大學
★這本書裡的文章,其洗煉有勁、敏銳洞察,以及思想力量,令讀者想起蕭伯納的樂評。全書含蓋薩依德二十年人生,體現他對音樂演出與音樂史連貫、逼人深思的觀點。
──林登柏格,史丹福大學
★富有深思的書籍,闡釋音樂對於社會被低估的影響力……在此合集中,薩依德表現了更多非正式的個人風格,寫作特點是巨大的熱情,以及深度與廣度兼具的洞見,這不論在撰寫任何主題的作家中都是極少見的。
──《經濟學人》
★薩依德是許多人心目中理想的樂評家,在《The Nation》超過20年的音樂評論專欄,結合了驚人的廣度和具有感染力的熱情。
──《每日電訊報》
★強烈推薦這部由二十世紀後半葉最敏銳的音樂評論家所寫的文集。
──《圖書館期刊》


序/書摘

巴倫波因
薩 依德是興趣淹博的學者。他精研音樂、文學、哲學,以及深明政治,而且,在各有差別,看來遙不相屬的學門之間尋求並找到關連的人十分難得,他是其中一位。他 對人類精神和人的出色了解,可能來自他發人深省的卓見:彼此平行的理念、主題、文化可能有個弔詭的性質,也就是既相互矛盾,又互相豐富。我想,這是薩依德 之所以是一位極重要人物的原因之一。他做他今生今世之旅的時候,正值音樂在社會上的價值開始式微。音樂的人性、靜觀與思想價值,以及聲音所表達的理念的超 越性,在現代世界都江河日下。音樂已從其他生活領域孤立出來,不再被視為知性發展的必要層面。一如醫學,音樂的世界已經演變成一個由知識愈來愈少的專家構 成的社會。
他極力反對專門化,因此非常強烈批評──我認為他的批評非常公允──音樂教育不但在美國日益貧乏,美國畢竟是從舊歐洲進口音 樂,但產生 過音樂上最偉大人物的歐洲也是如此。據薩依德所見,產生貝多芬、布拉姆斯、華格納、舒曼等等許多名家的音樂搖籃德國,以及德布西和拉威爾的故鄉法國,都任 令音樂教育的品質和機會惡化。此外,他察覺一個令他至為不安的趨勢(他這項觀察導致我們兩人迅速結合):音樂教育愈來愈專門化,範圍愈來愈小,即使在很方 便獲得這教育之地也是如此。最好的情況裡,這樣的音樂教育產生相當勝任的器樂家,他們擁有的理論知識和音樂學知識很少,而有職業音樂家必備的高度技巧。但 薩依德看出他們欠缺探掘、悟解並表達音樂本質的根本能力。畢竟,音樂之為物,其內容捨聲音則無從表達,但今天的音樂教育愈來愈遠離這項基本真理的深刻、複 雜奧秘,愈來愈集中於以身體上的熟練靈敏在樂器上產生聲音,以及在結構與和聲上解剖音樂,而沒有任何主動參與或體驗音樂的力量。薩依德為音樂界這樣的發展 扼腕,他的樂評也處處流露這股反感。
沒有誰比薩依德為這顯微鏡式的聚焦提供更完全的相反例證。這並不是說他對細節不感興趣。他完全明白音 樂天才或 音樂才具必須非常留心細節。天才將細節視為最重要的事情來注意,同時又不昧於整體大局;其實,留意細節,反而有助顯現他的大局眼光。音樂裡,一如在思想 上,大圖像必定是小小細節彼此精準協調的結果。薩依德觀賞音樂會或一場演出時,專心注意這些細節,其中有些細節,許多職業音樂家也忽略。批評方面,他許多 方面在批評家之間出類拔萃,他們有的缺乏以足夠判斷力來討論其題材的知識,有的欠缺不帶成見來聆聽的能力。第二類批評家明顯為自己鑄造一個定見,認定某件 作品如何詮釋才「正確」,因此,他們的能耐僅限於拿眼前的演出和他們所服事的一己之見,做有利或不利的比較。薩依德則不如是,他帶著開放的耳朵和深厚的音 樂知識聆聽,因而聽到並嘗試理解演出者的用意,和他處理音樂的取徑。例如,評論柴利比達克和慕尼黑愛樂的一場音樂會,他徜徉哲學領域,探討公開演奏的本 質,觀察並比較哪些演出者具備想像力來質疑音樂會一定要兩小時的傳統。關於柴利比達克出名的慢速度,和樂章之間充滿戲劇性的停頓,他的評語來自靜觀,富於 洞識,而且公允;他的評語,代表的不是一種個人對偏離規範的做法的反應,而是嘗試進入演出者的心靈,了解其動機。
薩依德對作曲和管絃樂法 的藝術有 精純的知識。例如,他知道,在《崔士坦與伊索德》(Tristan und Isolde)第二幕某一時刻,法國號退到舞台後面。數小節後,法國號吹奏的同一音符在樂池裡的豎笛部重新浮現。我有幸曾和許多知名歌者合作這部作品,他 們懵然不覺這個細節,老是回頭看那聲音是哪兒發出來的!他們不曉得那個音符已經不來自舞台後方,而是來自樂池。他關心這些事情;這是他對細節那種不厭其詳 的興趣的一環,他對整體的了解有一種宏大的氣象,無此興趣,這氣象是難以思議的。以他對世界的理解,薩依德不可能只見一目瞭然之事、只知字面意義、只取一 索即知之理:在他的著述、在他的生活中,他持續不斷發現並提出世界一切事物本質上彼此關連的證據,而他這個概念,最可能的來源是音樂。音樂裡沒有獨立的元 素。誰不願意相信人在個人、社會或政治領域裡能獨立行動而無後果,然而我們時時刻刻碰到相反的證據。舉個例子:分析巴哈作品的演出時,薩依德自然而然援引 濟慈詩句,討論華格納作品在以色列演出的問題,他也自然而然拿當代非洲人對康拉德小說《黑暗之心》(Heart of Darkness)的解讀來比擬。在薩依德眼中,只要是人類的事,就沒有哪兩個層面是彼此無關的。
身為音樂家,他和我一樣知道並且相信邏輯 與直 覺、理性思維與情感是密不可分的。我們經常忍不住盡拋邏輯,以便滿足某種情緒性的需求或狂想。在音樂裡,這事不可能,因為音樂不能只用理性,也不能單用情 緒。事實上,兩者分開,剩下的不是音樂,而是一堆聲音。薩依德相信包容而非排斥,這個信念也導源於他的音樂理解。在音樂裡,強調一個聲部而排除其他聲部, 是違反對位法原理的,同理,薩依德相信,不將有關各造都拉來討論一個情況,不可能解決衝突,無論是政治上的還是其他領域的衝突。統合的原則也是如此,從管 絃樂團的聲音平衡,到中東的和平會談,皆屬此理。這些精采、乍看不可能的關連,促成薩依德偉大思想者之譽。他是為他的民族爭取權利的鬥士、無與倫比的知識 分子,兼為最深層意義上的音樂家:他以他的音樂體驗與知識,作為他政治、道德、思想上的信念的根據。他關於音樂和音樂演出的論述,既賞心,復益智,只是聯 想之際多遐想,而行文至為典雅,佳處精采照人,富於獨創,充滿出人意表,只有他能揭露的啟示。
(本文作者為國際名指揮家兼鋼琴家)


目次

前言:巴倫波因
序:瑪麗安.薩依德
致謝
第一部:1980年代
1. 顧爾德的對位法慧見
2. 追憶鋼琴家的台風和藝術
3. 威風凜凜(論音樂節)
4. 理查史特勞斯
5. 女武神、阿依達、X
6. 音樂與女性主義
7. 萬人迷大師:了解托斯卡尼尼
8. 演奏家:人到中年
9. 維也納愛樂:全套貝多芬交響曲和協奏曲
10. 塞維爾的理髮師、唐喬萬尼
11. 顧爾德在大都會
12. 朱利亞凱撒
13. 藍鬍子的城堡、期待
14. 柴利比達克
15. 彼得塞拉斯的莫札特
16. 席夫在卡內基
第二部:1990年代
17. 理查史特勞斯
18. 華格納和大都會的《指環》
19. 歌劇的製作(玫瑰騎士、死屋、浮士德博士)
20. 風格與無風格(伊蕾克特拉、塞米拉米德、卡佳卡芭諾娃)
21. 布倫德爾:樂語(評布倫德爾新著《音樂的探尋:文章、演說、訪談、追想》
22. 死城、費黛里奧、克林霍夫之死
23. 風格的不確定性(凡爾賽的幽靈、士兵)
24. 音樂的回顧
25. 巴德音樂節
26. 對華格納不忠實之必要
27. 音樂和指揮的姿勢
28. 《特洛伊人》
29. 兒戲(評索羅門《莫札特傳》)
30. 《顧爾德的三十二個極短篇》
31. 巴哈的天才,舒曼的怪癖,蕭邦的無情,羅森的天資(評羅森的《浪漫主義世代》)
32. 為什麼要聽布列茲?
33. 亨德密特與莫札特
34. 評麥可.坦納新著《華格納》
35. 那張椅子裡的顧爾德( 評歐斯華《顧爾德和天才的悲劇》)
36. 談《費黛里奧》
37. 音樂與場面(《灰姑娘》、《浪子的歷程》)
38. 評戈特菲德華格納的《不與狼同嗥的人:華格納的遺澤──一本自傳》
39. 給大眾的巴哈
第三部:2000年以後
40. 巴倫波因(跨文化連結)
41. 顧爾德,作為知識分子的炫技家
42. 抗懷宇宙(評沃爾夫《巴哈:博學的音樂家》)
43. 巴倫波因和華格納禁忌
44. 不合時宜的沉思(評索羅門的《晚期貝多芬》)
附錄:巴哈/貝多芬



對談錄艾德華‧薩伊德(Edward W.Said)、丹尼爾‧巴倫波因(Daniel Barenboim) 作吳家恆譯,台北:麥田出版股份有限公司,2006


艾德華‧薩伊德(Edward W.Said)、丹尼爾‧巴倫波因(Daniel Barenboim) 作{並行與弔詭:薩依德與巴倫波因對談錄} (Parallels and Paradoxes)吳家恆譯,台北:麥田出版股份有限公司,2006


Barenboim conducting the orchestra 
Copyright: Monika Rittershaus/Staatsoper Berlin
Bild geliefert von Victoria Dietrich, Pressebüro STAATSOPER IM SCHILLER THEATER, Berlin für DW/Conny Paul.

Music

Conductor Barenboim turns 70

Argentine-Israeli conductor and pianist Daniel Barenboim aims to create more tolerance in the Middle East conflict with the power of music. We take a closer look at this unusual artist as he turns 70 on November 15.
Daniel Barenboim has repeatedly and impressively shown how music can bring people together. As a musical prodigy, he left Argentina for Israel and Europe at a young age. In the decades since, he has enjoyed wide acclaim as a pianist and conductor. The multi-lingual citizen of the world has demonstrated the courage of his convictions as he creates projects that assemble people to play music together, while simultaneously dispelling prejudices and bridging gaps between groups of people. However, he has no ambitions to become a statesman, preferring instead to remain the artist he is. The human aspect, and not politics, is what interests him, he says.
Barenboim playing the piano 
Copyright: Monika Rittershaus/Staatsoper Berlin
Bild geliefert von Victoria Dietrich, Pressebüro STAATSOPER IM SCHILLER THEATER, Berlin für DW/Conny Paul. Barenboim - the pianist
Born in Buenos Aires in 1942, Barenboim's grandparents - as Russian Jews - fled to South America at the beginning of the 20th century to escape the pogroms of the Russian Empire. In Argentina, Barenboim learned to play the piano at the age of five, and gave his first performance as a seven-year-old. En route to Israel, where his family emigrated in 1952, they stopped in Salzburg, where Barenboim performed a Bach recital as a young pianist. Two years later, legendary conductor Wilhelm Furtwängler called him a "phenomenon." Soon after, the nomadic life typical of an artist commenced for Barenboim as he gave his first performances in Vienna, Rome, Paris, London and New York. He also began recording albums.

A picture-book career

Following his conducting debut with the London Philharmonia Orchestra in 1967, he was soon conducting the world's top orchestras. He became principal conductor of the Orchestre de Paris, conducted at the Bayreuth Festival beginning in 1981, took up the post as Music Director of the Chicago Symphony Orchestra and became General Music Director of the Berlin State Opera Unter den Linden in 1992. In addition, he became Music Director of Milan's La Scala in 2011, having worked closely with the opera house in previous years.
Barenboim has not only concentrated on the works of Wagner, Beethoven, Schumann and Mahler, but also on contemporary music. At the Berlin State Opera, the conductor has led works by Pierre Boulez, Wolfgang Rihm, Isabelle Mundry, York Höller and the sole opera by American composer Elliott Carter, who recently passed away at the age of 103. Barenboim likewise regularly shifts from the conductor's podium to the piano - such as in a recent concert series at La Scala in honor of his 70th birthday, during which he performed with his famous Italian colleague Claudio Abbado and others.
Argentinian-Israeli conductor Daniel Barenboim acknowledges the audience after performing with the West-Eastern Divan Orchestra at the Maestranza Theater in Seville, Spain, 18 July 2012. Copyright: picture-alliance/dpa
Argentinian-Israeli conductor Daniel Barenboim with the West-Eastern Divan Orchestra
Provoking fellow Israelis

Holding Argentine, Israeli and Palestinian citizenships, Barenboim experiences the Middle East conflict first-hand without taking a one-sided view. The musician created a scandal in 2004 when he was awarded Israel's Wolf Prize. During his acceptance speech before the Knesset, he sharply criticized Israel's course of action again Palestinians, and quoted from the 1948 Israeli Declaration of Independence. Then Israeli President Moshe Katsav chastised Barenboim for offending Holocaust survivors by performing works by the anti-Semitic composer Richard Wagner.
Yet Barenboim is convinced that music can break down the barriers of hate. In 1999 - along with now deceased Palestinian intellectual Edward Said - he brought together young Israeli and Arab musicians for the first time for a workshop in Weimar, Germany. Taking its name from a collection of poetry by German Wolfgang Johann von Goethe, the "West-Eastern Divan" arose out of that, becoming a multi-national, Middle East orchestra that has gone on tour every summer since.
Barenboim conducting 
Copyright: Monika Rittershaus/Staatsoper Berlin
Bild geliefert von Victoria Dietrich, Pressebüro STAATSOPER IM SCHILLER THEATER, Berlin für DW/Conny Paul. An exceptional artist
Members of the West-Eastern Divan Orchestra come from Israel, the Palestinian territories, Jordan, Syria, Lebanon and Egypt. The musicians don't just rehearse and perform together: they also discuss controversial topics, such as current political developments. "The most important thing is that people enter into a dialogue with one another," Barenboim reflects in the documentary film 'Knowledge is the Beginning,' directed by Paul Smaczny and profiling the orchestra. "That doesn't mean one has to adopt the other person's stance. But in such a forum, the musicians have the opportunity to grow more tolerant."
Overcoming boundaries

One of the highpoints in the existence of the West-Eastern Divan Orchestra was a much-celebrated concert the musicians gave in Ramallah, in the West Bank, in 2005. With massive security measures in place, the orchestra was only able to enter the territory with Spanish diplomatic passports. Israeli musicians came to the Palestinian Territories for the first time, and their Arab colleagues had never before traveled in Israel. It became evident to everyone during that adventurous trip just how greatly the seemingly insurmountable borders had prevented people from learning about those on the "other side." As Barenboim explains, the West-Eastern Divan Orchestra will have achieved its true dimensions once it has performed in all of the native countries of its members.


Music has the power to break down borders, Barenboim believes - here, he's shown conducting
Copyright: MOHAMED OMAR/EPA Music has the power to break down borders, Barenboim believes
In 'Knowledge is the Beginning,' an Israeli reporter asks Barenboim if musical education could stop a Palestinian child from throwing stones at Israelis. He said he didn't think so, but with music, he could give these young people something they would never want to live without. "And when kids go to violin or cello lessons three or four times a week, they don't have time to ponder radical ideas."

Involved in society

The Berlin-based Daniel Barenboim Foundation not only supports the West-Eastern Divan Orchestra, but also numerous music and educational projects in the Middle East. Together with the Barenboim-Said Musical Center in Ramallah, it supports young musicians of various ages in Israel and in the West Bank. The Edward W. Said Music Kindergarden opened its doors in Ramallah in 2004.
Barenboim also founded a music kindergarten in Berlin in 2005, where members of his Staatskapelle - the orchestra of the Berlin State Opera - regularly stop by with their instruments. Barenboim's vision of education by way of music, which can promote cooperation within society, evidently has a wide appeal: on his 70th birthday on November 15, he will perform with the Staatskapelle Berlin under the baton of his long-time friend Zubin Mehta in a benefit concert for his Berlin Music Kindergarden.



2014年8月26日 星期二

科学の台湾...《科學發展》




哇~~~日前博物館建築落成啟用99年慶生會活動,也有日語版的介紹內容耶!!!這樣,以日語為主要語言的朋友們也可以瞭解當天博物館慶生會的活動狀況囉!
小編貼心提醒,將滑鼠移至照片上會顯示說明文字,按耳機圖案就可以收聽中央廣播電臺節目的內容囉!有關活動內容收聽與介紹,請參考中央廣播電臺網站(http://japanese.rti.org.tw/whatsOn/?recordId=5593),歡迎大家收聽和分享!
感謝中央廣播電臺前來採訪,並提供報導內容。

哇~~~日前博物館建築落成啟用99年慶生會活動,也有日語版的介紹內容耶!!!這樣,以日語為主要語言的朋友們也可以瞭解當天博物館慶生會的活動狀況囉!

小編貼心提醒,將滑鼠移至照片上會顯示說明文字,按耳機圖案就可以收聽中央廣播電臺節目的內容囉!有關活動內容收聽與介紹,請參考中央廣播電臺網站(http://japanese.rti.org.tw/whatsOn/?recordId=5593),歡迎大家收聽和分享!

感謝中央廣播電臺前來採訪,並提供報導內容。

『科学の台湾』 5巻1-5号

台湾博物館協会

博物館


以典藏、展示、教育、研究各種文物為目的的公共機構。最初將museum譯為「博物館」者為明治時期日本思...


^ 『科学の台湾』台覧品の解説、台湾博物館協会、1937年、23頁。

*****

http://www.nsc.gov.tw/sd/
本會《科學發展》月刊創刊於民國62年元月,隨著我國社會的發展與環境的變遷,本刊的性質亦 有所調整。在民國62年至72年間,主要是刊登中文學術論文、研究專題簡介、研究獎助費專題名稱、與出席國際會議報導,以促進學者專家間之相互溝通為目 的;自民國73年起,則以登載本會重要專題研究計畫之規劃或成果、科技政策、科技發展動態、出席國際會議報導、與會務為主,具有機關政策刊物的性質,藉以 增進學術界對本會各項重要措施與成果的了解。多年來,本刊的按期出版,已對我國的科技發展產生了相當的輔助作用。
時序進入21世紀之後,人類知識更加蓬勃發展,以知識 促進科技發展,進而帶動經濟成長的趨勢益發明顯,而全民知識水準的持續提升,尤為關鍵之所在。本會職司推動全國科學技術的發展工作,對提升全國民眾的科技 知識自然責無旁貸。因此,本刊自91年元月起轉型為綜合性科普雜誌,以「科技普及化」為目標,建構良好的社會環境,引導科技知識自學術機構、大學、專業領 域普及於一般社會大眾,使全民都可以吸收科學技術的知識,因應知識經濟時代的需要。
目前本刊分為6個專欄,計有「專題報導」、「一般報 導」、「科技新知」、「科學、技術與社會」、「突破的故事」及「台灣新發現」,報導的範圍包括自然科學、生物科學、工程科學、人文及社會科學、與科學教育 等各領域,內容兼具本土性與國際性,以生活化、大眾化、和趣味化為原則,並輔以精緻之圖片。藉由豐富的、最新的、正確的、與圖文並茂的報導,使專家學者與 一般大眾均能了解國外科技發展情況與國內的科技成就,期能達到科際間相互交流、科技與人文整合及增進大眾科學知識的目的。
基於普及全民科技知識的理想,本刊的發行對象亦擴及國中以上各級學校、學術研究機構、公私立圖書館及各社教機構。而且除紙本外,也同時發行電子版,以因應網路時代不同人士的閱讀需要與習慣,希能裨益科教,並獲淑世勵俗之效。
知識就是力量,全民科技知識的提升,不但可以改善生活 的品質、豐富生命的內涵,也將增強國家的競爭力。惟科技知識的普及化並不是一蹴可及的,我們殷切盼望透過長期的努力與累積,使學術走入民間,不再是高深莫 測,而是與我們日常生活息息相關,人人可得分享的。更希望透過本刊的轉型,與坊間的科普刊物相輔相成,對我國科技知識的平民化,建立一個優質的知識社會, 貢獻一份心力,使我們更有信心、更富創意地迎接未來的挑戰。

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