2015年10月29日 星期四

林獻堂 環球遊記

這本書,我兩三年前瘋過。現在有此可廣流傳,可惜價格不菲。


林獻堂 環球遊記:台灣人世界觀首部曲

作者: 林獻堂
出版社:天下雜誌
出版日期:2015


內容簡介

生於19世紀末的林獻堂,送給21世紀台灣人最好的禮物!
台灣人世界觀首部曲,88年前,台灣人如何看世界? 
台灣第一公民林獻堂,1927年5月15日從基隆出發,
378天穿越亞歐美菲,遊歷 16國、60餘城市,踏通五洲,17萬字詳實遊記
 
  環遊世界是很多人的夢想,在沒有飛機的時代,八十八年前,有「台灣議會之父」、「台灣第一公民」之稱的林獻堂就帶著兩個兒子進行為期一年的歐美深度之旅。《環球遊記》不僅是台灣第一部公開發行的歐美遊記,也是最早一份台灣人看世界的翔實紀錄。
 
  1927年5月從基隆出發,經過香港、新加坡、斯里蘭卡後,再到埃及看金字塔,接著通過蘇伊士運河從法國馬賽登陸歐洲。林獻堂漫遊英國、法國、德國、荷蘭、丹麥、比利時、瑞士、西班牙、義大利。在美國,從東岸的紐約到西岸的舊金山,處處都有林獻堂的足跡,一路上林獻堂以日記、遊記的形式紀錄所見所聞,以台灣為出發點,巨細靡遺的探討歐美各地的風俗民情,同時訴說著台灣在殖民統治下所遭遇到的種種困境,讓《環球遊記》不僅僅是遊記,更像是林獻堂先生赴西方取經的精華手扎,從細膩的文字中更可以看出其豐富的情感和幽默的一面。
 
名人推薦
 
  林博正(明台產物保險前董事長)、林芳瑛(明台高中董事長)、李登輝(第七、八、九任總統)、連戰(第九任副總統)、王金平(立法院長)、童子賢(和碩聯合科技董事長)、呂捷(歷史補教名師)、許雪姬(中央研究院臺灣史研究所研究員,林獻堂研究權威) 感動推薦
 
 

作者介紹

作者簡介
 
林獻堂
 
  林獻堂(1881-1956),號灌園,出生於霧峰,有「台灣第一公民」、「台灣議會之父」之稱,一生橫跨滿清、日本、國民黨三政權,是台灣進步知識份子的代表人物,在政治、文化、教育、經濟等各層面,都可看到他的影響力。
 
  於日治時期,組織台灣文化協會,希望以文化啟蒙提升台灣文化的水準及台灣人地位;並領軍向日本政權請願設置台灣議會,為台灣人民爭取應有的人權及民主政治。
 
  林獻堂也非常重視教育的推廣,現今的台中一中、延平中學及明台高中等,都是由他所推動設立。與長子林攀龍在故鄉成立一新會,也是台灣社區總體營造的最早實踐。
 
 

目錄

一、由基隆至馬爾塞
(一)發韌
(二)香港
(三)鹿島丸
(四)新嘉坡
(五)彼南
(六)錫蘭
(七)開羅
(八)埃及之獨立
(九)馬爾塞上陸
(十)巴黎舊雨
 
二、英國見聞錄
(一)自多維至倫敦
(二)氣候
(三)倫敦市
1、議院傍聽
2、威士敏士達寺
3、泰晤士河
4、保羅寺
5、倫敦塔
6、公園
7、大英博物舘
8、地下電車
(四) 蘇格蘭Scotland
(五)披野遜之家庭
(六)病中記事
(七) 滞英雜錄
 
三、法國見聞錄
(一)光明之巴黎
1、康科特廣場
2、凱 旋 門
3、市 廳
4、偉 人 廟
5、拿破倫之墓
6、克呂尼博物館
7、盧甫耳舊宮殿
8、公 園
9、大 歌 劇 場
10、法 蘭 西 菜
11、咖 啡 店
12、再 會 巴 黎
(二)波爾多 Bordeaux
(三)維爾賽宮 Versailles
(四)封騰布羅 Fontainebleau
(五)南錫 Nancy
(六)斯特拉斯堡 Strassburg
(七)里昂 Lyons
(八)馬爾塞 Marseille
(九)綠水濱 La Cote d’Azur
(十)摩納哥公國
 
四、意大利見聞錄
(一)熱那亞Genoa
(二)除 夕
(三)元 旦
(四)世界之首都
1、地 下 墓 場
2、彼 得 寺
3、博 物 舘
4、圓 劇 場
5、浴 場
6、監 獄
7、保羅寺及諸寺
8、奧古斯德宮August
9、元 老 院
(五)那波里Napoli
(六)潘沛依地下古城
(七)維蘇威火山Vesuvus
(八)花 城Florence
(九)水 市Venice
(十)米 蘭Milan
 
五、德意志見聞錄
(一)海得爾堡Heidelberg
(二)法蘭克福Frankfurt
(三)科不林士Coblenz
(四)波 昂Bonn
(五)哥 隆Koln
(六)柏 林Berlin
(七)德勒斯登Dresden
(八)波次坦Potsdam
(九)漢 堡Hamburg
(十)德國戰後之損失
 
六、丹麥見聞錄
(一)哥本哈根Copenhagen
(二)奧登塞Odense
 
七、荷蘭見聞錄
(一)奇異的國土
(二)鹿特丹Rotterdam
(三)阿姆斯特丹Amsterdam
(四)海 牙Hague
 
八、比利時見聞錄
(一)安特衛普Antwerp
(二)歐陸戰場
(三)布魯塞爾Brussels
(四)伊泊爾Ypres
(五)滑鐵盧Waterloo
(六)減稅運動
 
九、西班牙見聞錄
(一)內政之不統一
(二)巴塞羅那Barcelona
(三)鬪 牛
(四)乞 丐
(五)馬得里Madrid
 
十、瑞士見聞錄
(一)歐洲之遊戯場
(二)百 倫Bern
(三)阿爾卑斯Alps
(四)日內瓦Geneva
 
十一、美國見聞錄
(一)自巴黎至紐約
(二)紐 約
(三)華盛頓
(四)費 府Philadelphia
(五)波士頓 Boston
(六)耐亞嘎拉瀑布Niagara Falls
(七)芝加高 Chicago
(八)芝加高屠畜場
(九)由芝加高至羅府
(十)勞斯安極立司 Los Angeles
(十一)約森密忒公園 Yosemite
(十二)聖佛蘭西斯科  San Francisco
 
十二、太平洋舟中
 
附錄:環球遊記校訂後記
 
印象台灣第一公民 目錄
踏通五洲
家人家世
民主先聲
漢學傳承
家族興業
文化啟蒙
為民興學
婦女教育
提攜後進
動靜強身
清新再造
時人聚匯
 
 

推薦序一 
 
追求現代性、走入世界:我看灌園先生的《環球遊記》
中央研究院臺灣史研究所研究員 許雪姬
 
  一、灌園先生歐美之旅的背景
 
  林獻堂先生(1881-1956),族名朝琛,號灌園,台中霧峰人,從小學科舉之業,並接受世家子弟的教育。1895年台灣割讓,父親林文欽(前清舉人)留台陪伴祖母,令他率全家40多人避難泉州,實已展露其領導能力。18歲時結婚,20歲時父親病逝在香港,從此成為家族的中流砥柱。1902年任霧峰區長前後6年,這是他第一次出任公職,1905年他獲紳章,逐漸成為霧峰林家頂厝的領導人,人稱阿罩霧的三少爺。1910年加入日治時期臺灣最有名的詩社櫟社,成為要角;也參加1914年中部士紳發起建設的台中中學的具體行動;更參加《台灣民報》的創立,並在1932年成為社長。在政治方面,他在1914年呼應日人板垣退助的同化會,企望透過此會而得以取消來自台灣總督府的差別待遇,可謂啼聲初試。一生中最重要的事功在1921年起展開,他被推選為台灣議會設置請願運動之領袖,主導自該年起至1935年的止的請願運動,前後歷經14年15次,雖然沒有成功,但對向日本納稅的台灣人而言,這是堂堂正正向台灣總督府要求政治權利的開端,人民獲得的政治啓蒙不少。1921年10月,台灣文化協會成立,做為提升台灣人文化向上,進而追求台灣自治的搖籃,被推為總理而到全台各地演講、鼓吹,深受歡迎。但1927年初,左翼勢力的進入,造成文化協會分裂,原來的同志紛紛退出,他左右為難,仍未退會,這時他進行了歐美之旅做為他瞭解歐美社會、轉換心情的壯舉。
 
  二、旅程與見聞
 
  1927年3月蓄意已久的歐美之行終於要展開,但因騎驢出遊跌傷,以致5月15日才成行,這時林獻堂47歲。同行的是剛於4月結婚的次子猶龍,以及在英國留學的長子攀龍。兩位公子隨行,除了陪伴外也充當通譯。到歐美地區做文化知性之旅,是1910年他帶長子(10歲)、次子(9歳)到日本東京就學時就已許下的心願。這一路由基隆出港,經華南、香港、新加坡、埃及、義大利、法國、英國、德國、丹麥、荷蘭、比利時、摩納哥(時尚未獨立,屬法國)、瑞士、西班牙、美國,1928年5月25日抵達日本橫濱(11月8日回台)前後共378天。他在巴黎滯留最久、印象最好。在旅途中他第一次面對歐美文化時,常做東西方文化主觀性的比較,並以台灣做為思考、比較的軸心。此行有許多收穫,如一路會見親友、故舊,如到英國遇到曾來台40年甫回英國的英國長老教傳道局文安姑娘,在巴黎見到板橋林家林柏壽。其次得以參觀、體驗英國的參、眾兩院,海德公園的自由論述,對其平民精神印象深刻;參觀摩納哥時,拿她和印度做比較,説世界上無一民族、無一土地不可獨立,摩納哥小國寡民卻能自治,印度地大物博人多,卻因無自治能力而只能做英國的殖民地。在林的政治概念中,只要能自治而後就能獨立。在美國時,他稱道美國立國的精神在平等。由林獻堂頌讚歐美的民主政治,推崇其獨立、平等、自由,其政治主張亦已思之過半矣!他對東西文化所做初步的比較,不論其是否客觀,都是一種新的嘗試。東洋人重元旦,西洋人重耶誕;西洋人重藝術家,東方人反是;西方人愛自由,東方人愛利。至於民族問題,在瑞士他體會利害相同的異族可以為兄弟,利害相反縱骨肉可以為仇讎的現實;在美國他對黑白人的問題、印地安人的問題有深刻的體會,認為不同民族處於相反的地位,而希望其沒有民族偏見幾希。
 
  這一趟行程約用掉四、五萬元,林獻堂的夥伴蔡惠如、蔣渭水都勸他省下這筆錢,做為《台灣民報》辦日刋之用,但他早有歐美之行的決定,故絶不打消此行,因為他要親炙歐美異文化,為此行留下紀錄,刊登報刊,做為文化啓蒙的讀本。此行如果有遺憾的話,那就是因病,沒有參訪在英國自治下、可為台灣政治操作模範的愛爾蘭。
 
  三、撰寫、出版《環球遊記》
 
  林獻堂出發前已讀過康有為《意大利遊記》、梁啓超《新大陸遊記》與《歐遊心影錄》,芥川龍之芥《中國遊記》、黃朝琴〈遊美日記〉以便琢磨遊記的寫作技巧,尋找前人走過的遊覽點,親自體驗,同時決定逐日寫日記做為寫遊記的參考。他一路記日記、寫遊記,第一次刊登在《台灣民報》是1927年8月28日,以〈環球一週遊記(一)〉的面貌出現,一直到(五)才改做《環球遊記》。由於一星期刊一次,又在旅遊中,供稿的壓力很大,他的兩個兒子幫了不少忙,如幫忙尋找、翻譯資料。這連載一直到1931年10月3日第152篇〈太平洋舟中(下)〉,才告完結,前後4年多。遊記到底呈現怎樣的風格與特色?遊記中充滿抗議精神,值得吟味。作者常對台灣被殖民統治的境遇提出對日本統治的控訴,藉着與歐美做比較,而說出不少微言大意,非放在當時的時空實難理解。借著批評義大利的專制及分析美國南北獨立戰爭的原因,來控訴殖民地無高等教育,怕被殖民者有學問即不願被壓制,甚或獨立。觀察他者指出異文化的不同,對漢文化做出反省,同時表現出其對中國史事的嫺熟,也是遊記的重點之一,如遊埃及見木乃伊時,遙想當時被役使建金字塔之人,其苦當不減建萬里長城和大運河的人,但金字塔對人民無利,長城、運河則多少蒙其利;見作家雨果受到重視,但施耐庵、曹雪芹卻未如渠等之作品受人重視,也因而想到林痴仙的詩集必須要編纂。林獻堂的遊記中常流露出不迷信的個性,筆鋒常帶感情,且有表現其性格幽默之一面,實有閱讀、臥遊的價值。
 
  當遊記在報紙刊登後,他的夫人楊水心,就是最忠實的讀者。他常有機會被邀請去分享旅遊的經驗,讓聽者透過他的觀察走向世界。如在關子嶺教會對會友講說羅馬的地下墓場、聖彼得大教堂;在桐林靈山寺連講三天,第一天有關芝加哥屠獸場之悲慘,第二天講新加坡、錫蘭、亞丁,第三天講埃及、巴黎,在當時他的旅遊經驗是頗受歡迎的。當《環球遊記》連載完畢後,親友鼓勵其集結出書,1932年3月開始修訂文白夾雜之處,但因工作忙,修改時斷時續,終於未能對全書做修訂,而沒有集結出書。雖然沒有出書,但林在簡荷生的力勸下,1941年遊記再度刊載在簡所編的《南方雜誌》,到1942年6月1日正好連載到英國見聞錄,此節說到女王待人親切,又說其平民化「將來君主國的壽命之最長者,其英國乎。」由於1941年12月8日太平洋戰爭發生,英國是敵性國家,林還不合時宜地稱頌英國,簡直是非國民,林只得以辭去所有職務,以及寫文章謝罪;再因長谷川清總督不再追究,不准其辭去今職才告一段落。
 
  由於曾欲全文刊載在《南方》,因此林獻堂已修改到(七三)米蘭,全書只修改了一半。1956年林獻堂不幸去世,乃由葉榮鐘主編《林獻堂先生紀念集》,《環球遊紀》就收錄在其中,成為第二個版本。書中的第(一)至(七三),林獻堂修改的部分,抄自林獻堂備忘錄,自(七四)德意志見聞錄起到(一五二)止只改標題,其餘由《台灣新民報》抄出。葉榮鐘同時也將日式漢文做了修改,如自動車改汽車、給仕改侍役、料理改菜餚,標題也做了小修改,如サヨナラパリ—改為再會巴黎。本次《天下雜誌》的重刋應該也是利用這個版本才是。
 
  《環球遊記》不是日本時代台灣第一本有關歐美的遊記,第一本是1926年出版的《最近歐美旅行記》,這是顏國年1925年3月21日至10月25日遊歷美歐16國所寫成的遊記,前後221日。本書雖有出版,但只供親友參考,並未正式發行,因此知道的人較少,影響有限。反觀《環球遊記》,在當時台灣人的喉舌報《台灣民報/台灣新民報》連載,其影響不可謂不大。葉榮鐘曾說日治時期台灣的文化運動是集啓蒙運動、社會運動、政治運動為一體,説這部遊記是具有啓蒙意義的出版品,誰曰不宜。這部遊記並非一般遊記,而是關注歐美國家的政經與社會,風俗與民情之作;換言之,林獻堂長達一年的歐美之行,也非一般的旅遊,頗有學梁啓超赴歐取經之味道。他希望學習歐美之長處,對台灣有所幫助。遊記中微言大義之處不少,希讀者細心品味。林獻堂一向被視為台灣政治社會運動的領導者,他文學的一面卻被疏忽了。
 
  四、我與《環球遊記》
 
  我之所以注意《環球遊記》,始於我要開始研究日治時期的霧峰林家,故自林家相關的資料看起,這時林獻堂先生的長孫林博正先生提供一套影印的《灌園先生日記》供我參考,第一本(1927)即有與歐美旅遊的相關日記,我立刻找《環球遊記》來看,一看之下欲罷不能,且略有所得,乃撰寫〈林獻堂著《環球遊記》研究〉一文,2011年我取得了顏國年《最近歐美旅行記》,由於林、顏兩人前往歐美相差時間約2年多,顏由美而歐、林由歐而美,前者重工業,後者重人文風情,筆觸不同、想法各異,因之又草成〈林獻堂《環球遊記》與顏國年《最近歐美旅行記》的比較〉一文。此次重刋林獻堂的《環球遊記》,正值灌園先生逝世六十週年,以之做為紀念,意義深遠。謹為之序。

2015年10月27日 星期二

雙照樓詩詞藁 (汪精衛)




 雙照樓詩詞藁 (汪精衛)

“ 人心思漢 ”:汪精衛人品和詩詞

汪精衛:他的人品無可挑剔 (章伯鈞/章詒和 )


黎漢傑


雙照樓詩詞藁
作者: 汪精衛
又看一次,無妨無妨。

內容簡介
  汪精衛詩詞藝術造詣出類拔萃,在近現代中國屬最有代表性的詩詞名家之一。多年來,因為「漢奸」罪名,《雙照樓詩詞藁》一直未能在海內外中國人社會得到廣泛重視。天地圖書有見及此,經過多年籌備,邀得著名歷史學家余英時教授作序,著名古典詩詞研究名家葉嘉瑩教授審訂及作序,另由汪精衛詩詞研究學者、葉嘉瑩教授高足汪夢川博士為全書注釋,可以說,這是有史以來最權威、最有可讀性的一個《雙照樓詩詞藁》版本。
  余英時教授為本書寫了一篇一萬多字的長序,希望對汪精衛在日本侵略者羽翼下建立政權這一舉動作一個合情合理的歷史解釋,此外,他也對汪精衛詩詞的藝術成就作出高度評價。
  余教授認為:「汪的古典詩詞在他那一代人中無疑已達到了第一流的水平。近人稱許黃公度寫的詩能『我手寫我口』,我以為汪的詩詞則是『我手寫我心』,其委婉曲折處頗能引起讀者的共鳴。」他並舉陳寅恪和錢鍾書二人的詩來佐證。
  至於汪「投敵」的心路歷程,余教授也列舉大量最新史料,剖析汪的曲折心態,認為汪當時判斷中國國力遠遠落後,全面戰爭只會導致亡國的結局,因此汪力主盡早媾和,汪的這種心態與歷史學家陳寅恪當年的主張也不謀而合。




"Pinocchio" By Carlo Collodi

Carlo Lorenzini, better known by the pen name Carlo Collodi, was born in Florence, Italy on this day in 1826.
“Lies, my dear boy, are found out immediately, because they are of two sorts. There are lies that have short legs, and lies that have long noses. Your lie, as it happens, is one of those that have a long nose.”
― from "Pinocchio" By Carlo Collodi
The original, unabridged Pinocchio in a beautifully illustrated hardcover edition. Carlo Collodi’s 1883 story is an astonishing work of fantasy, even richer and more wildly imaginative than the famous film that Disney made of it. The Everyman’s edition—the only one in hardcover—brings back the color-illustrated translation of 1916 that captures the vivid inventiveness of Collodi’s original. Here is the endearing wooden puppet, always dreaming of becoming a boy and always tumbling into trouble: kidnapped, robbed by a cat and a fox, turned into a donkey, escaping from an enormous smoking serpent and a green-skinned ogre, rescuing his father from the belly of a mile-long fish, haunted by the ghost of a talking cricket, watched over by a fairy with turquoise hair, and, time and again, betrayed by his lie-sensitive nose.

2015年10月26日 星期一

Understanding Media (1964)《認識媒體 : 人的延伸》 The Mechanical Bride:Folklore of Industrial Man By Marshall McLuhan 《機器新娘》

Herbert Marshall McLuhanCC (July 21, 1911 – December 31, 1980) was a Canadianphilosopher of communication theory and a public intellectual. His work is viewed as one of the cornerstones of the study of media theory, as well as having practical applications in the advertising and television industries.[2][3]
McLuhan is known for coining the expressions the medium is the message and the global village, and for predicting the World Wide Web almost thirty years before it was invented.[4] Although he was a fixture in media discourse in the late 1960s, his influence began to wane in the early 1970s.[5] In the years after his death, he continued to be a controversial figure in academic circles.[6] With the arrival of the internet, however, interest in his work and perspective has renewed.[7][8][9]


《認識媒體 : 人的延伸》/ 麥克魯漢(Marshall McLuhan) ; 鄭明萱譯,台北市: 貓頭鷹出版, 2006


Marshall McLuhan and the Wired Future
Gregory McNamee - March 24, 2009
As extension of man the chair is a specialist ablation of the posterior, a sort of ablative absolute of backside, whereas the couch extends the integral being.”

馬歇爾·麥克盧漢和有線的未來
格雷戈里·麥克納米 - 2009324
“作為擴展人的椅子後的專科消融,一種燒蝕絕對背面的,而沙發上擴展了整體之中。”
本書至少用了" implosion 內爆"27

引文至少要包含上一句:
If the nineteenth century was the age of the editorial chair, ours is the century of the psychiatrist's couch. As extension of man the chair is a specialist ablation of the posterior, a sort of ablative absolute of backside, whereas the couch extends the integral being. The psychiatrist employs the couch, since it removes the temptation to express private points of view and obviates the need to rationalize events.


做為人的延伸,座椅是後電臀的專工奪格化,算是臀部的一種獨立奪格,躺椅則延伸了整體存在。


*****
This 1961 report on the Glyndebourne Festival in Sussex, England, presents a rather dramatic contrast to the modern-day parks concert concept. Instead of loud cellphone talkers and cavorting children, women arrived in evening gowns and pearls and men wore tuxedos as they ate country picnics (with champagne) and played croquet.
The New York Philharmonic parks concerts recently brought free...
WQXR.ORG



簡談麥克盧漢著《機器新娘》之翻譯


這篇是我的舊作: 2005.1.20

Marshall McLuhan(1911-80)大名人。在我讀大學的1971-75年間,他早已紅遍世界,我在『境與象』讀過同學翻譯的名作「媒介即信息」。那時候,台灣翻印業發達,我買過他與Quentin Fiore合作的圖文書The Medium Is the Massage: An Inventory of Effects;(他們還有一本War and Peace in the Global Village,我沒買到)。




  1. Marshall Mcluhan Full lecture: The medium is the message ...► 14:23www.youtube.com/watch?v=ImaH51F4HBwAug 9, 2011 - Uploaded by mywebcowtube
    Herbert Marshall Mcluhan (*1911 - +1979) lecture recorded by ABC Radio National Network on 27 June 1979 ...



約20年之後,再買一本Reflection On and By MarshallMcLuhan(1911-80),這都不是他的經典作品。漢文世界對於他的作品之消化,或許約要再等50年。 

本文主要為談論些Marshall McLuhan(1911-80)著作之翻譯品質。Marshall McLuhan的基本資料,可以參考繁體字網路的某些大學課程簡介。他的英文資料,更為「汗牛充棟」。

先以The Mechanical Bride:Folklore of Industrial Man(漢譯本:馬歇爾•麥克盧漢著《機器新娘》,何道寬譯,中國人民大學出版社,2004年10月版)。目前只能採取抽樣方式。日文本1968年由竹内書店出版:『機械の花嫁』(1968,井坂学訳,369p.,980日圓,這書2000年再版『機械の花嫁──産業社会のフォークロア』 :竹内書店新社,369p. ISBN:4803500401,2000) 
Peter Drucker 為The Mechanical Bride by Marshall McLuhan (1951) 寫序、介紹。 

他1980年12月31日過世,我在2004年之年尾,在網路上追讀他50幾年前的經典作品。The Mechanical Bride:Folklore of Industrial Man之漢譯本《機器新娘》--這本書圖文並茂,圖和其中的文案,都相當重要,最好要完全翻譯之,本書無法達成此標準。

我雖尚未取得整本的原文書參照,不過,我們可以從網路上找到其中的「50周年版(50th Anniversary Edition)之導言(Introduction by Philip B. Meggs)」與其中Freedom - American Style 等兩篇,中英對照校讀漢譯本,下了這判斷【Introduction一文中把sound bites誤讀為sound bits;Freedom - American Style一文中脫文「不少」】。不過,我一貫認為,本刊所談的都是高標準,而一般讀者或許只想想了解大概,所以即使是hc所批評的書,從「開卷有益」的觀點,都還是可以拿來讀讀的,起碼開眼界。《機器新娘》的譯者認真地作了300餘條腳注,雖然有些錯誤,不過相信對一般讀者有助益。我們談的翻譯上的「字句問題」,多屬於非關整體思想者。 

翻譯者何道寬(1942-)為Marshall McLuhan 著作集的主要翻譯者:「(中共)政府津貼專家,深圳大學文學院副院長,語言文化翻譯研究所所長」,譯著「頗多」,不過,我們從這本《機器新娘》(麥克盧漢的第一本佳作)的翻譯質量來看(詳後),多少「很失望」,這多少也反映大陸學術和翻譯市場的痼疾。

要翻譯《機器新娘》及McLuhan之後的文集,可預見的困難相當多。,一是文本中所談的「汽車、廣告、電視」等等大眾化產業的社會-經濟-文化脈絡,台灣比美國「落後」(純中性用語)數十年,大陸比美國「落後」約五十年,翻譯者大多沒機會盛逢其會。現在幸虧internet發達,可以解決部分翻譯上的可能難題,否則,《機器新娘》等幾乎算「天書」(作了300餘條腳注,我認為還不足,我估計約需作500餘條「詳細而正確」的腳注,才能超脫純直譯字面的意思,稍為進入「了解」之境。) 

*****

Understanding Media (1964)[edit]

McLuhan's most widely known work, Understanding Media: The Extensions of Man (1964), is a pioneering study in media theory. Dismayed by the way people approached and used new media such as television, McLuhan famously argued that in the modern world "we live mythically and integrally ... but continue to think in the old, fragmented space and time patterns of the pre-electric age."[53]
McLuhan proposed that media themselves, not the content they carry, should be the focus of study—popularly quoted as "the medium is the message". McLuhan's insight was that a medium affects the society in which it plays a role not by the content delivered over the medium, but by the characteristics of the medium itself. McLuhan pointed to the light bulb as a clear demonstration of this concept. A light bulb does not have content in the way that a newspaper has articles or a television has programs, yet it is a medium that has a social effect; that is, a light bulb enables people to create spaces during nighttime that would otherwise be enveloped by darkness. He describes the light bulb as a medium without any content. McLuhan states that "a light bulb creates an environment by its mere presence."[54] More controversially, he postulated that content had little effect on society—in other words, it did not matter if television broadcasts children's shows or violent programming, to illustrate one example—the effect of television on society would be identical.[55] He noted that all media have characteristics that engage the viewer in different ways; for instance, a passage in a book could be reread at will, but a movie had to be screened again in its entirety to study any individual part of it.

"Hot" and "cool" media[edit]

In the first part of Understanding Media, McLuhan also stated that different media invite different degrees of participation on the part of a person who chooses to consume a medium. Some media, like the movies, were "hot"—that is, they enhance one single sense, in this case vision, in such a manner that a person does not need to exert much effort in filling in the details of a movie image. McLuhan contrasted this with "cool" TV, which he claimed requires more effort on the part of the viewer to determine meaning, and comics, which due to their minimal presentation of visual detail require a high degree of effort to fill in details that the cartoonist may have intended to portray. A movie is thus said by McLuhan to be "hot", intensifying one single sense "high definition", demanding a viewer's attention, and a comic book to be "cool" and "low definition", requiring much more conscious participation by the reader to extract value.[56]
"Any hot medium allows of less participation than a cool one, as a lecture makes for less participation than a seminar, and a book for less than a dialogue."[57]
Hot media usually, but not always, provide complete involvement without considerable stimulus. For example, print occupies visual space, uses visual senses, but can immerse its reader. Hot media favour analytical precision, quantitative analysis and sequential ordering, as they are usually sequential, linear and logical. They emphasize one sense (for example, of sight or sound) over the others. For this reason, hot media also includeradio, as well as film, the lecture and photography.
Cool media, on the other hand, are usually, but not always, those that provide little involvement with substantial stimulus. They require more active participation on the part of the user, including the perception of abstract patterning and simultaneous comprehension of all parts. Therefore, according to McLuhan cool media include television, as well as the seminar and cartoons. McLuhan describes the term "cool media" as emerging from jazz and popular music and, in this context, is used to mean "detached."[58]
This concept appears to force media into binary categories. However, McLuhan's hot and cool exist on a continuum: they are more correctly measured on a scale than as dichotomous terms.[19]

Critiques of Understanding Media[edit]

Some theorists have attacked McLuhan’s definition and treatment of the word "medium" for being too simplistic. Umberto Eco, for instance, contends that McLuhan’s medium conflates channels, codes, and messages under the overarching term of the medium, confusing the vehicle, internal code, and content of a given message in his framework.[59]
In Media ManifestosRégis Debray also takes issue with McLuhan’s envisioning of the medium. Like Eco, he too is ill at ease with this reductionist approach, summarizing its ramifications as follows:
The list of objections could be and has been lengthened indefinitely: confusing technology itself with its use of the media makes of the media an abstract, undifferentiated force and produces its image in an imaginary "public" for mass consumption; the magical naivete of supposed causalities turns the media into a catch-all and contagious "mana"; apocalyptic millenarianism invents the figure of a homo mass-mediaticus without ties to historical and social context, and so on.[59]
Furthermore, when Wired interviewed him in 1995, Debray stated that he views McLuhan "more as a poet than a historian, a master of intellectual collage rather than a systematic analyst ... McLuhan overemphasizes the technology behind cultural change at the expense of the usage that the messages and codes make of that technology."[60]
Dwight Macdonald, in turn, reproached McLuhan for his focus on television and for his "aphoristic" style of prose, which he believes leftUnderstanding Media filled with "contradictions, non-sequiturs, facts that are distorted and facts that are not facts, exaggerations, and chronic rhetorical vagueness." [61]
Additionally, Brian Winston’s Misunderstanding Media, published in 1986, chides McLuhan for what he sees as his technologically deterministicstances.[61] Raymond Williams and James W. Carey further this point of contention, claiming:
The work of McLuhan was a particular culmination of an aesthetic theory which became, negatively, a social theory [...] It is an apparently sophisticated technological determinism which has the significant effect of indicating a social and cultural determinism [...] If the medium - whether print or television – is the cause, of all other causes, all that men ordinarily see as history is at once reduced to effects. (Williams 1990, 126/7)[61]
David Carr states that there has been a long line of "academics who have made a career out of deconstructing McLuhan’s effort to define the modern media ecosystem," whether it be due to what they see as McLuhan’s ignorance toward sociohistorical context or the style of his argument.[62]
While some critics have taken issue with McLuhan’s writing style and mode of argument, McLuhan himself urged readers to think of his work as "probes" or "mosaics" offering a toolkit approach to thinking about the media. His eclectic writing style has also been praised for its postmodern sensibilities[63] and suitability for virtual space.[64]

The Medium is the Massage: An Inventory of Effects (1967)[edit]

The Medium Is the Massage, published in 1967, was McLuhan's best seller,[8] "eventually selling nearly a million copies worldwide."[65] Initiated byQuentin Fiore,[66] McLuhan adopted the term "massage" to denote the effect each medium has on the human sensorium, taking inventory of the "effects" of numerous media in terms of how they "massage" the sensorium.[67]
Fiore, at the time a prominent graphic designer and communications consultant, set about composing the visual illustration of these effects which were compiled by Jerome Agel. Near the beginning of the book, Fiore adopted a pattern in which an image demonstrating a media effect was presented with a textual synopsis on the facing page. The reader experiences a repeated shifting of analytic registers—from "reading" typographic print to "scanning" photographic facsimiles—reinforcing McLuhan's overarching argument in this book: namely, that each medium produces a different "massage" or "effect" on the human sensorium.
In The Medium is the Massage, McLuhan also rehashed the argument—which first appeared in the Prologue to 1962's The Gutenberg Galaxy—that all media are "extensions" of our human senses, bodies and minds.
Finally, McLuhan described key points of change in how man has viewed the world and how these views were changed by the adoption of new media. "The technique of invention was the discovery of the nineteenth [century]", brought on by the adoption of fixed points of view andperspective by typography, while "[t]he technique of the suspended judgment is the discovery of the twentieth century", brought on by the bardabilities of radio, movies and television.[68]
An audio recording version of McLuhan's famous work was made by Columbia Records. The recording consists of a pastiche of statements made by McLuhan interrupted by other speakers, including people speaking in various phonations and falsettos, discordant sounds and 1960s incidental music in what could be considered a deliberate attempt to translate the disconnected images seen on TV into an audio format, resulting in the prevention of a connected stream of conscious thought. Various audio recording techniques and statements are used to illustrate the relationship between spoken, literary speech and the characteristics of electronic audio media. McLuhan biographer Philip Marchand called the recording "the 1967 equivalent of a McLuhan video."[69]
"I wouldn't be seen dead with a living work of art."—'Old man' speaking
"Drop this jiggery-pokery and talk straight turkey."—'Middle aged man' speaking

War and Peace in the Global Village (1968)[edit]

McLuhan used James Joyce's Finnegans Wake, an inspiration for this study of war throughout history, as an indicator as to how war may be conducted in the future.
Joyce's Wake is claimed to be a gigantic cryptogram which reveals a cyclic pattern for the whole history of man through its Ten Thunders. Each "thunder" below is a 100-character portmanteau of other words to create a statement he likens to an effect that each technology has on the society into which it is introduced. In order to glean the most understanding out of each, the reader must break the portmanteau into separate words (and many of these are themselves portmanteaus of words taken from multiple languages other than English) and speak them aloud for the spoken effect of each word. There is much dispute over what each portmanteau truly denotes.
McLuhan claims that the ten thunders in Wake represent different stages in the history of man:[70]
  • Thunder 1: Paleolithic to Neolithic. Speech. Split of East/West. From herding to harnessing animals.
  • Thunder 2: Clothing as weaponry. Enclosure of private parts. First social aggression.
  • Thunder 3: Specialism. Centralism via wheel, transport, cities: civil life.
  • Thunder 4: Markets and truck gardens. Patterns of nature submitted to greed and power.
  • Thunder 5: Printing. Distortion and translation of human patterns and postures and pastors.
  • Thunder 6: Industrial Revolution. Extreme development of print process and individualism.
  • Thunder 7: Tribal man again. All choractors end up separate, private man. Return of choric.
  • Thunder 8: Movies. Pop art, pop Kulch via tribal radio. Wedding of sight and sound.
  • Thunder 9: Car and Plane. Both centralizing and decentralizing at once create cities in crisis. Speed and death.
  • Thunder 10: Television. Back to tribal involvement in tribal mood-mud. The last thunder is a turbulent, muddy wake, and murk of non-visual, tactile man.

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