2016年11月30日 星期三

新聞網站「新頭殼」(2009-2016)



2009年9月成立至今已7年多的新聞網站「新頭殼」傳出今年底將熄燈。新頭殼創辦人兼董事長蘇正平今向本刊記者證實此消息,他說,新頭殼不是資源很多的媒體,雖然虧損不多,但因考量未來幾年媒體經營環境可能不會改善,因此董事及股東會日前決議於今年底結束營業。

蘇正平強調,新頭殼是股份有限公司,會依法處理相關事宜,也會善盡社會責任,除對員工的資遣等後續處理一定妥善安排,新聞服務也會提供到年底,不會中斷。他說,目前該公司員工符合《勞基法》資遣規定的有8人,其餘多是定期契約或邀稿作家,因此不適用《大量勞工解僱保護法》的規範。

蘇正平也表示,依法年資3年以上的員工資遣須於1個月前告知,因此昨天已和幾位員工告知此事。他也感嘆:「現在媒體環境大家都很清楚。」一位新頭殼員工今凌晨就在臉書感嘆:「前途一片混亂與茫然。 」據了解,11月27日該公司舉行董事及股東會議,會中做出結束公司的決議。
2009年新頭殼成立茶會時,金溥聰(左)也現身祝賀。

新頭殼網站的正式公司名稱是「先驅媒體社會企業股份有限公司」,2009年9月1日記者節成立,由曾任新聞局長、中央社董事長的蘇正平創辦,曾任公視總經理的胡元輝擔任總顧問,首任總製作(等於總編輯)是中央社前副總編輯莊豐嘉。新頭殼成立茶會當天,甫從壹傳媒離開的國安會前秘書長金溥聰也曾現身祝福。

不過,胡元輝隔年接任卓越新聞基金會董事而離職,莊豐嘉去年也從新頭殼離職,今年另創公民草根媒體《串樓口》,並擔任社長。

「這當然是很可惜的事!」胡元輝感嘆,當初創辦新頭殼的想法很單純,就是希望台灣能有獨立精神的媒體,因資金、資源不足以支撐傳統媒體,因此創立網路原生媒體,並定位為社會企業,因此股東們一開始就以認同價值為主,並不認為是投資,也希望新頭殼「能做多少就發揮多少」。
2009年新頭殼成立茶會,時任總統的馬英九也送花籃祝賀。

胡元輝說,這7年來新頭殼確實發揮了一些作用,包括某種程度引領了現在的網路新聞媒體風潮,以及在部分新聞事件上達到了守望的功能,成績單如何,就留給社會大眾去評價。

新頭殼長期關注政治、媒體改革、社會正義等議題,曾率先報導苗栗大埔案、揭露中國福建省政府付費給《中國時報》置入新聞;此外,包括反核、318學運、反課綱運動等近年的社會運動,新頭殼也都給予大篇幅報導。

St. Paul: The Apostle We Love to Hate by Karen Armstrong 聖保羅:基督教史上極具爭議的革命者

上周,梁永安先生送我一本新譯Karen Armstrong的【聖保羅】,

聖保羅:基督教史上極具爭議的革命者

St. Paul: The Apostle We Love to Hate


內容簡介

《神的歷史》作者   凱倫.阿姆斯壯Karen Armstrong   最新力作
基督教文獻研究最出色的保羅專著
從真正出自保羅手筆的七封書信,
探索使徒保羅的先進革命思想與身世之謎

  每個文化總會有像耶穌和保羅那樣的聲音響起,抗議制度化的不公不義。保羅若是活在今日,八成會激烈批判巨大財富不均與權力不均的全球性市場。
  其次,保羅畢生都在追求超越族群、階級和性別藩籬。在今天的世界裡,種族歧視和階級分野仍然頑強。保羅若是活在今日,一定會激烈反對這些偏見。
  所以,有許多事情我們可以向保羅學習。——凱倫.阿姆斯壯Karen Armstrong

  就現代觀點來看,使徒保羅堪稱社會改革的先驅。就像耶穌一樣,保羅終其一生反對羅馬帝國的結構性不公義,追求超越族群、階級和性別藩籬。然而,歷史中的保羅卻被醜化為厭女者、奴隸制度的支持者、極權主義的發聲者,激烈仇視猶太人和猶太教。

  作者凱倫.阿姆斯壯試圖為保羅平反,徵引嚴謹史料與學者最新研究,指出新約聖經中僅七封書信是出自保羅之手。保羅書信寫於耶穌死後二十年,是流傳至今的最早基督教文獻。經學者鑑定,這些書信只有七封是真品:〈帖撒羅尼迦前書〉、〈加拉太書〉、〈哥林多前書〉、〈哥林多後書〉、〈腓立比書〉、〈腓利門書〉和〈羅馬書〉,而歷史對保羅的諸多誤解乃源自其餘偽託之作。

  保羅終其一生都強調,在「上帝的國」裡,每個人都必須被允許同桌用膳。遺憾的是,在今日的世俗化世界裡,種族歧視和階級分野仍然頑強。幸而,每個文化總會有像耶穌和保羅那樣的聲音響起,挺身抗議制度化的不公不義。保羅若是活在今日,一定會像耶穌那樣激烈反對階級偏見,激烈批判帶來巨大財富不均衡與權力不均衡的全球性市場。

  本書透過檢視保羅的生命路徑與傳教生涯,並穿插宗教歷史與文獻研究,不僅能窺見保羅於所處時代的掙扎,理解其信念與行動背後的成因,並重新評價保羅對基督教的影響。更重要的,作者試圖透過本書修復猶太教與基督教的關係,並重新檢視女性在現代基督教中的重要性。

名人推薦

  阿姆斯壯精彩地凸顯出保羅在基督教發展史的中軸角色,顯示其著作一直同時受到基督徒的忽略和扭曲。——《出版者週刊》(Publishers Weekly)
     
  這書成功達成了阿姆斯壯女士自己設定的目標:為最有影響力一位基督教宣教士進行平反,並探索一些至今仍縈繞著我們的議題。她的作品設法修補猶太教和基督教的關係,重新聚焦於女性在現代基督教中的重要地位,以及在我們的世界裡實現「上帝的國」。是時候停止迫害保羅和欣賞他的教誨。—— 《匹茲堡新聞郵報》(Pittsburgh Post-Gazette)

  內容扼要簡潔,有力回應了對保羅的常見批判。——《獨立報》(The Independent)

  報導平衡而資訊詳實。——《紐約書評》(New York Review of Books)
  凱倫.阿姆斯壯的佳釀:清晰、淵博、感情豐富和非常長人見識。——卡希爾(Thomas Cahill),著有《猶太人的禮物》(The Gifts of the Jews)和《愛爾蘭人如何拯救了文明》(How the Irish saved Civilization)
緒論

  一九八三年,我第一本談保羅的書出版,當時我的事業剛起步。隨著這本《第一位基督徒》(The First Christian)而來的六集電視劇是由我執筆和製作。制訂拍攝計畫之初,我認為這是個好機會,可以讓我顯示保羅如何破壞了基督教,敗壞了耶穌原有的愛的教誨。保羅是一位很多人喜歡恨的使徒:他被醜化為厭女者(misogynist)、奴隸制度的支持者、並且極權主義的發聲者,激烈仇視猶太人和猶太教。但當我開始從第一世紀的脈絡研究他的書信,不多久便意識到以上的論斷全然站不住腳。事實上,追隨他的足跡時,我不只愈來愈敬佩他,還感覺自己跟這位難相處、傑出和可敬的人十分相投。

  我的第一個發現是,《新約聖經》中歸於他名下的那些書信並非全是出自其手筆。經學者鑑定,這些書信只有七封是真品:〈帖撒羅尼迦前書〉、〈加拉太書〉、〈哥林多前書〉、〈哥林多後書〉、〈腓立比書〉、〈腓利門書〉和〈羅馬書〉。其他書信(〈歌羅西書〉、〈以弗所書〉、〈帖撒羅尼迦後書〉、〈提摩太前書〉、〈提摩太後書〉和〈提多書〉)全是後人偽託,統稱「次保羅書信」(Deutero-Pauline letters),一部分成書的年代晚至第二世紀。這些書信不能稱為偽作,因為在古代世界,把著作託名於一個受敬佩聖人或哲人是常有的事。這些身後書信致力於圈住保羅,讓他的激進教誨可為希臘羅馬世界接受。正是這些後出的書信堅持婦女必須順服丈夫,奴隸必須順服主人。也正是這偽託書信把保羅對「這世代的統治者」的譴責靈界化,聲稱基督要收拾的是魔界力量而非羅馬帝國的統治階層。

  說來有趣,有些女性主義神學家認為以上的論證只是一種開釋。她們似乎強烈感覺有必要把基督教源遠流長的討厭女人傾向(misogyny)歸咎於保羅。不過,她們無視信而有徵的考證的態度卻是非理性的。在在看來,人們認為恨保羅比客觀評價他的著作還重要。事實上,近期研究顯示,保羅對這些議題的激進立場與我們自己時代的前衛立場極為相近。首先,正如霍斯利(Richard A. Horsely)、喬治(Dieter George)和愛略特(Neil Elliot)等學者指出的,保羅就像耶穌一樣,終其一生反對羅馬帝國的結構性不公義。在前現代的世界,所有文明毫無例外要依賴農產品的剩餘來維繫,而這些剩餘是硬從胼手胝足的農民身上壓榨出來的。所以,有五千年光景,世界九成人口都被化約為農奴狀態,以維持一個特權階級的存在。然而,歷史學家又指出,沒有這種無處不見的安排,人類便不可能走出原始狀態,因為只有特權階級方有餘暇發展科學與藝術,帶來進步。另外,弔詭的是,像羅馬那樣的大帝國看來是保障和平的最好方法,因為它讓互相敵對的貴族不會為爭奪可耕地爭戰不休。在前現代的世界,社會不安造成的農業歉收可導致成千上萬死亡,所以,人人對無政府狀態無不充滿恐懼,並把奧古斯都之類的皇帝譽為不世出的明君。不過,每個文化又總會有像耶穌和保羅那樣的聲音響起,抗議制度化的不公不義。保羅若是活在今日,八成會激烈批判帶來巨大財富不均與權力不均的全球性市場。

  其次,保羅畢生都在追求超越族群、階級和性別藩籬(說來可悲,這些社會分隔在二十一世紀的今日仍是根深柢固)。所以,我們必須為保羅平反。他從大馬士革啟示得到一個重要憬悟,即區分猶太人與外邦人的律法已被上帝廢除(他先前不遺餘力捍衛這律法)。就像耶穌那樣,他總是強調,在「上帝的國」裡,每個人都必須被允許同桌用膳。在我們的世俗化世界裡,我們不再強調禮儀上的潔淨,但種族歧視和階級分野仍然頑強。保羅若是活在今日,一定會(就像耶穌那樣)激烈反對這些偏見。耶穌持續與「罪人」共餐,觸摸那些被認為「不潔」和患有傳染疾病的人,跨越社會界線結交被建制鄙視的人。

  所以,有許多事情是我們可以向保羅學習的。寫作《第一位基督徒》時,我強烈倚重〈使徒行傳〉(傳統認為是出自聖路加手筆,而他同時是〈路加福音〉的作者)。但〈使徒行傳〉現已不再被認為完全可靠。路加固然可以接觸到一些有根據的傳說,但因為他寫作的時間有可能晚至第二世紀,他並不總是明白他所聽到的傳說。另外,他與保羅有著完全不同的政治傾向。寫作於反抗羅馬人的「猶太戰爭」之後,路加因為目睹耶路撒冷與聖殿的悲慘下場,急於撇清耶穌運動並不像一般猶太人那樣對羅馬充滿敵意。所以,在他的敘事裡,他一貫描寫羅馬官吏對保羅禮敬和欣賞有加,又把保羅屢屢被驅逐出宣教地點歸咎於在地猶太社群對他的不歡迎。但我們將會看見,保羅自己的觀點大不相同。

  所以,在本書,我主要仰賴的材料是保羅的七封可靠書信。有很多事將會永遠成謎:例如,我們將永不可能得知,那麼強調自己單身身分的保羅是否結過婚。我們對他的童年和教育情況一無所知,對於他五次在猶太會堂被鞭打和三次遭遇船難(其中一次在大海漂浮了一晝夜)的事情所知亦極其有限。我們也不知道他是什麼時候遭人砸石頭,是什麼時候遇到土匪。另外,雖然歷代以來對於保羅的死有許多不同說法,但我們不可能知道他是何時死去和如何死去。儘管如此,他的書信卻讓他活了起來,讓驅動他去改變世界的熱情歷歷呈現。
 


作者介紹
作者簡介

凱倫.阿姆斯壯Karen Armstrong

  英國最負盛名的宗教議題評論家之一。曾擔任天主教修女達七年之久。一九六九年離開她的教派後,於牛津大學聖安妮學院英語系畢業,之後在倫敦大學貝佛(Bedford)學院、里歐.貝克(Leo Baeck)學院任教。一九八二年後開始專職寫作、講學,以及主持廣播節目談論宗教事務。

  她是穆斯林社會科學協會(Association of Muslim Social Sciences)的榮譽會員,並擔任聯合國文明聯盟(UNAOC)大使,獲頒眾多國際獎項。一九九九年獲頒「穆斯林公共事業會媒體獎」,二○○八年獲得TED大獎,並創立「仁愛憲章」(Charter for Compassion)。二○一五年,因對文學與跨信仰對話的貢獻而獲頒大英帝國官佐勳章(OBE)。

  著作甚豐,包括《神的歷史》(立緒出版)、《穿越窄門》、《佛陀》、《萬物初始》、《為神而戰》、《伊斯蘭》、《神話簡史》、《穆罕默德》、《大蛻變》等書。

譯者簡介

梁永安

  台灣大學文化人類學學士、哲學碩士,東海大學哲學博士班肄業。目前為專業翻譯者,共完成約近百本譯著,包括《文化與抵抗》(Culture and Resistance / Edward W. Said)、《啟蒙運動》(The Enlightenment / Peter Gay)、《現代主義》(Modernism:The Lure of Heresy / Peter Gay)等。


目錄
緒論 Introduction
第1章 大馬士革 Damascus
第2章 安提阿 Antioch
第3章 雅佛之地 Land of Japheth
第4章 對立 Opposition
第5章 物資 The Collection
死後生命 Afterlife
註釋
我看了導論之後,去看Wikipedia的,https://en.wikipedia.org/wiki/Paul_the_Apostle
Paul the Apostle (LatinPaulusGreekΠαῦλοςtranslit. Paulos; c. 5 – c. 67), commonly known as Saint Paul, and also known by his native name Saul of Tarsus (Hebrewשאול התרסי‎, translit. Sha'ul ha-Tarsi‎; GreekΣαῦλος Ταρσεύςtranslit. Saulos Tarseus)[4][5][6] was an apostle (though not one of the Twelve Apostles) who taught the gospel of the Christ to the first century world.[7] He is generally considered one of the most important figures of the Apostolic Age.[8][9] In the mid-30s to the mid-50s AD, he founded several churches in Asia Minor and Europe. Paul took advantage of his status as both a Jew and a Roman citizen to minister to both Jewish and Roman audiences.


去YouTube看The Life of Paul the Apostle FULL DOCUMENTARY......
https://www.youtube.com/watch?v=QKiHduU7R_8

2016年11月29日 星期二

THE DOUBLE: A Petersburg Poem by Fyodor Dostoevsky

"It was nearly eight o'clock in the morning when the titular councillor Yakov Petrovich Goliadkin came to after a long sleep, yawned, stretched, and finally opened his eyes all the way. For some two minutes, however, he lay motionless on his bed, like a man who is not fully certain whether he is awake or still asleep, whether what is happening around him now is a reality or a continuation of the disordered reveries of his sleep."
―from THE DOUBLE: A Petersburg Poem by Fyodor Dostoevsky
he Double, written in Dostoevsky’s youth, was a sharp turn away from the realism of his first novel, Poor Folk. The first real expression of his genius, The Double is a surprisingly modern hallucinatory nightmare in which a minor official named Goliadkin becomes aware of a mysterious doppelgänger–a man who has his name and his face and who gradually and relentlessly begins to displace him with his friends and colleagues. In the dilemma of this increasingly paranoid hero, Dostoevsky makes vividly concrete the inner disintegration of consciousness that would become a major theme of his work. The Gambler was written twenty years later, under the pressure of crushing debt. It is a stunning psychological portrait of a young man’s exhilarating and destructive addiction, a compulsion that Dostoevsky–who once gambled away his young wife’s wedding ring–knew intimately from his own experience. In the disastrous love affairs and gambling adventures of his character, Alexei Ivanovich, Dostoevsky explores the irresistible temptation to look into the abyss of ultimate risk that he believed was an essential part of the Russian national character. The two strikingly original short novels brought together here–in new translations by award-winning translators–were both literary gambles of a sort for Dostoevsky. READ an excerpt here: http://knopfdoubleday.com/…/the-double-and-t…/9781400044702/

《那朵迷路的雲:李渝文集》2016、《郭松棻文集》 (2015);《拾花入夢記:李渝讀紅樓夢》(2011) :郭松棻、李渝合葬中和禪寺靈骨塔

閱讀更多《那朵迷路的雲:李渝文集》:
博客來 https://goo.gl/KYqq9q


博客來-作者-郭松棻
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博客來搜尋,作者,郭松棻,郭松棻文集:哲學卷,郭松棻文集:保釣卷,驚婚.

郭松棻(1938-2005)評文學多產者「垃圾作品太多,一生成為書的製造機」,「其實不必多產,如今海峽兩地的大病,乃在過分生產」(《印刻文學生活誌》郭松棻專號 ,p.45)2007.12.20.
2015年


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旅美作家郭松棻、李渝先後離世,骨灰由兒子自紐約送回台灣,今天合葬於北投中和禪寺。兩人定居紐約半世紀,郭松棻生前立志返鄉,李渝遺囑則表示願與丈夫合葬於大樹下。合葬之地中和禪寺四周綠樹環繞,完成兩人心願。

郭松棻小說多描寫異鄉人的孤寂,台灣是他永恆的鄉愁。郭松棻妹妹郭珠美表示,郭松棻第一次中風時,便表示要返回台定居,可惜因身體欠佳未能如願。李渝過世後,兩人兒子郭志群、郭志虹遵循父母遺志,將兩人骨灰合葬、帶回台灣。
今上午,經過簡單肅穆的佛教儀式,大兒子郭志群將父母骨灰罈安置於中和禪寺靈骨塔。





李渝(1944年1月23日-2014年5月5日)
  • 《拾花入夢記:李渝讀紅樓夢》(台北:印刻文學,2011)
  • 很難得的一本讀書、讀畫心得。
我的貢獻是為第10篇 《探春去南方 》補上
《延伸閱讀:請給我們海洋——簡˙奧斯婷的《勸導》 》——不只是李渝提到胡適認為《紅樓夢》是自然主義寫法,更因為她融會貫通中外名著的土地、人物與海洋的精神。
約十年前知道志文版《勸導》的中譯筆者,也精讀《法國中尉的女人》和其作者產業故事。

內容簡介

  大多數小說家寫完第一層,重現表面的聲光動作以後就會停筆,張愛玲可以繼續寫下去,寫進第二或三層,沈從文、福樓拜、契訶夫、普魯斯特等則可入五、六、七等層。曹雪芹的筆氣特長,不慌不忙,慢陳細訴,進入了數不清的好幾層。
  一件生活上的小事滉漾出不止的漣漪,一種心情牽引出另一種心情,一節感受醞生出再一節感受,層層入裡,綿延不絕。這裡《脂批》「寫形不難,寫心維難也」,從第一層漸入許多層,正是從「寫形」到「寫心」的維難過程。──李渝,〈平兒理妝〉
  這或是一個小說作者跨越時空向另一位優秀小說家致敬,並透過書寫進行更深刻觀想、理解、體味的美感旅程。
  作家李渝自六○年代開始小說寫作,《溫州街的故事》、《應答的鄉岸》、《夏日踟躇》、《金絲猿的故事》等幾部作品膾炙人口,與沈從文的抒情風格一脈相承。作家駱以軍有段話說李渝:她在招魂「渡引」人物進入故事隧道時,常不止是沈從文黃昏河面上的悲傷與抒情;且奇異地進入一個無比孤獨,他們內心的瘋魔旅程、疾病的長廊。
  李渝同時又是學有專精的中國藝術史學者,是坐而言更願起而行的認真創作者;她讀紅樓,多幾分信手拈來、跨度上千年對歷史、藝術的反思觀照,更在文字精鍊嫵媚如詩韻圓融流轉、又如戲劇情節舒緩鋪排般的構句中,蘊含一種將紅樓作者曹氏的創作意圖與學養,筆下人物的尊嚴、自由、美的靜謐時刻還原、超越、昇華的浪漫意志。
  小說家李渝或者藝術史學者李渝感興趣的,不僅僅是《紅樓夢》展現各種虛實情況,大小場面,悲喜情境,其所達致的後人難以超越的高峰,書寫規模與深度;也不僅僅在於曹氏如何揉捏詞彙,翻轉句子,使文字發出色彩和聲音,現出紋路和質地,把讀者帶到感官和思維迴鳴,現實和非現實更疊交融的地步。她更關心的,毋寧是小說中人物所身在的,活生生的「人」的處境,展現出怎樣複雜奧麗的風景與社會縮影,又怎樣牽動著彼此的命運?
  於是,李渝眼中的大觀園,竟宛如她筆下的溫州街,禁錮、壓抑,卻又風華絕代;像一幅典麗的山水畫卷緩緩從眼前開展,呈現了通向浩浩耿耿紅樓夢輿的重要通道關竅。
  ◎本書第一部分「說故事的方法」共收四篇作品:或說遍布小說各處豐富豪豔的聲與色;或說曹氏彼時書寫與閱讀的文化、文本底蘊;或說紅樓的「淫」與「邪」,也說「夢」與「血」。
  ◎第二部分「精秀的女兒們」共收八篇作品,或述紅樓群釵的文藝學養;或分述平兒、熙鳳、賈薔、齡官、妙玉等角色最殊堪玩味、破譯的內心與言行機關;或說諸女如何護持寶玉,還報不盡的寶玉又如何展現中國古典小說難得一見的女性氣質。
  ◎第三部分「成長」共收三篇作品,則從更全方位視角關注紅樓的童年和成年兩大主題,如何涵蓋生命本質,更時時互動,為紅樓述事帶來無比勁力,而使之成為中文小說藝術裡最完整的一部作品。
  ◎本書更以全書約五分之二篇幅,介紹清代乾、嘉、道、光至民初以來,對於繪作紅樓故事用力最深的代表性畫家如改琦、費丹旭、孫溫、吳友如等以及流傳甚廣的楊柳青年畫,並選錄多幀精采圖版,既供讀者玩賞紅樓人物的造型姿態,並進一步理解、感受圖繪紅樓的發展歷程與系譜,也極富收藏價值。
作者簡介
李渝
  台大外文系畢業,美國伯克利加州大學中國藝術史碩士、博士,現任教美國紐約大學東亞研究系。著有小說集《溫州街的故事》、《應答的鄉岸》、《夏日踟躇》、《賢明時代》,長篇小說《金絲猿的故事》,藝術評論《族群意識與卓越風格》、《行動中的藝術家》,畫家評傳《任伯年─清末的市民畫家》;譯有《現代畫是什麼》、《中國繪畫史》等。
 編輯手札
  這真是一次纏綿的編輯經驗,因為圖片和版面與文字的尋找更改都花費了不少時間,一張圖一張圖一個字一個字的修整,還有顏色和版本等圖樣細節,李渝老師以極精準的文字說明紅樓造景與圖畫龐大複雜的來源流變,也不時說到紅樓人物心坎裡的愛憎情思轉化,並放到現代社會價值觀來看,更添趣味,才讓我看到個個紅樓人物如現代偶像劇明星的風采,有文字有畫面的;還有中國文化文學裡豐富充滿底蘊勝過《追憶似水年華》的時代;也不得不愛上賈寶玉或想要有賈寶玉「愛得很寬」的性格,他是那麼「花心」而「癡情」,並且獨一無二。

目錄

一、說故事的方法
1 顏色和聲音
2 小說家的書房
3不管道德的小說家
4神話和儀式
二、精秀的女兒們
5 不是那輕薄脂粉
6 平兒理妝
7 難為王熙鳳
8 畫薔和放雀
9 荒原上的篝火──妙玉情迷
10 探春去南方 
    延伸閱讀:請給我們海洋——簡˙奧斯婷的《勸導》
11守護著的姊妹們 
12 寶玉的報答──寧作女孩兒
三、成長
13 賈政不作夢
14 夢裡花兒落多少──童年和成長
15 庭園子民
紅樓圖錄
1 乾隆五十六年 「程甲本」《紅樓夢》
2 嘉慶三年 仲振奎填詞《紅樓夢傳奇》
3 嘉慶二十年 吳鎬填詞《紅樓夢散套》
4 道光十二年 王希廉《新評繡像紅樓夢全傳》
5 光緒五年 改琦《紅樓夢圖詠》
6 道光二十一年 費丹旭《十二金釵圖》
7 汪惕齋《手繪紅樓夢》
8 孫溫《全本紅樓夢》
9 清人,《大觀園圖》
10 《紅樓夢版刻圖錄》
11 吳友如《紅樓金釵》
12 年畫

小說[編輯]

  • 《溫州街的故事》(台北:洪範書店,1991)
  • 《應答的鄉岸》(台北:洪範書店,1999)
  • 《金絲猿的故事》(台北:聯合文學,2000)
  • 《夏日踟躇》(台北:麥田出版,2002)
  • 《賢明時代》(台北:麥田出版,2005)
  • 《九重葛與美少年》(台北:印刻文學,2013)

藝術評論[編輯]

  • 《族群意識與卓越風格:李渝美術評論文集》(台北:雄獅圖書,2001)
  • 《行動中的藝術家:美術文集》(台北:藝術家,2009)

譯著[編輯]

文學評論[編輯]

  • 《拾花入夢記:李渝讀紅樓夢》(台北:印刻文學,2011)

『日本美術年鑑』2014年度(東京 財研究所・企画情報部)

『日本美術年鑑』は、日本国内における美術界の一年間の動向を、基本資料を収集整理してまとめたものです。昭和11年に当研究所美術部の前身である帝国美術院付属美術研究所によって第一冊が刊行されて以来、現在まで59冊が刊行されています。
 『日本美術年鑑』は、各巻とも年史・展覧会・文献目録・物故者の四項目から成っており、年史・展覧会は月日順に、文献目録はテーマ分類ごとに、物故者は五十音順索引と没月日順の記事にそれぞれまとめられています。

2014年度
平成26年版は(2013.1-12)は、下記のような構成をとり、B5版 474 ページとなりました。
2013(平成25)年美術界年史
美術展覧会(企画展、作家展、団体展)
美術文献目録
  定期刊行物所載文献
  美術展覧会図録所載文献(企画展、作家展、団体展)
物故者
2013年度
平成25年版は(2012.1-12)は、下記のような構成をとり、B5版 426 ページとなりました。
2012(平成24)年美術界年史
美術展覧会(企画展、作家展、団体展)
美術文献目録
  定期刊行物所載文献
  美術展覧会図録所載文献(企画展、作家展、団体展)
物故者
2012年度
平成23年版は(2011.1-12)は、下記のような構成をとり、B5版 445 ページとなりました。
2011(平成23)年美術界年史
美術展覧会(企画展、作家展、団体展)
美術文献目録
  定期刊行物所載文献
  美術展覧会図録所載文献(企画展、作家展、団体展)
物故者
2011年度
平成23年版は(2010.1-12)は、下記のような構成をとり、B5版 455 ページとなりました。
2010(平成22)年美術界年史
美術展覧会(企画展、作家展、団体展)
美術文献目録
  定期刊行物所載文献
  美術展覧会図録所載文献(企画展、作家展、団体展)
物故者
2010年度
平成22年版は(2009.1-12)は、下記のような構成をとり、B5版 479 ページとなりました。
2009(平成21)年美術界年史
美術展覧会(企画展、作家展、団体展)
美術文献目録
  定期刊行物所載文献
  美術展覧会図録所載文献(企画展、作家展、団体展)
物故者


東京文化財研究所

東京文化財研究所(とうきょうぶんかざいけんきゅうしょ)は独立行政法人国立文化財機構の下部組織。東京都台東区上野公園に所在する。日本及び東洋の美術伝統芸能文化財保存科学と修復技術について基礎研究を行い、博物館美術館などからの要請に応じて技術指導や調査を行う。また中華人民共和国大韓民国タイ王国ドイツ米国などの文化財研究機関と広く学術交流も展開している。現所長は亀井伸雄(元文化庁文化財鑑査官)。

沿革[編集]

1930年黒田記念館内に設立された帝国美術院付属美術研究所を前身とする。初代所長は正木直彦
1947年国立博物館付属美術研究所となり、1954年東京国立文化財研究所と改称した。
1968年文化庁附属機関となる(1984年からは施設等機関)。
1990年、アジア文化財保存研究室が設置された。同室は1993年国際文化財保存修復協力室となり、1995年には国際文化財保存修復協力センターに発展、2006年に文化遺産国際協力センターに改称した。
2000年、新庁舎が完成し、旧庁舎および黒田記念館から移転、黒田記念館には展示施設が整備された。
2001年4月1日奈良国立文化財研究所とともに独立行政法人文化財研究所(本部、奈良市)に統合された。
2007年4月1日、独立行政法人文化財研究所は独立行政法人国立博物館と統合し、独立行政法人国立文化財機構が発足した。

組織[編集]

  • 研究支援推進部
    • 管理室
  • 企画情報部
    • 情報システム研究室
    • 文化財アーカイブズ研究室
    • 広領域研究室
    • 文化形成研究室
    • 近・現代視覚芸術研究室
    • 無形文化遺産部
    • 無形文化財研究室
    • 無形民族文化財研究室
    • 音声・映像記録研究室
  • 保存修復科学センター
    • 保存科学研究室
    • 分析科学研究室
    • 生物科学研究室
    • 修復材料研究室
    • 伝統技術研究室
    • 近代文化遺産研究室
  • 文化遺産国際協力センター

黒田記念館[編集]

1924年に没した洋画家・黒田清輝(1866年~1924年)が遺産の一部を美術の奨励事業に役立てるよう遺言したことから、1928年に黒田記念館が竣工された(設計:岡田信一郎)。1930年には、同館に美術に関する学術的調査研究と研究資料の収集を目的として、現在の東京文化財研究所の前身である帝国美術院付属美術研究所が設置された。
2000年に東京文化財研究所が新庁舎に移ったことに伴い、2階部分を中心に改修を行い、2001年9月に開館。記念館本館と書庫は、建造物として2002年登録有形文化財に登録された[1]
2007年4月の独立行政法人国立文化財機構発足に伴い、黒田記念館は東京国立博物館の管轄となっている。 2012年4月から耐震補強の改修工事を行っていたが、2015年1月にリニューアルオープンされた。

脚注[編集]

  1. ^ 平成14年3月12日文部科学省告示第35号

外部リンク[編集]

2016年11月27日 星期日

MIDNIGHT'S CHILDREN. A Novel of India's Coming of Age Salman Rushdie

“Each book has to teach you how to write it, but there’s often an important moment of discovery.” —Salman Rushdie

Salman Rushdie was born in Bombay in 1947, on the eve of India’s independence. He was educated there and in England, where he spent the first decades of his writing life.
THEPARISREVIEW.ORG


"Who what am I? My answer: I am the sum total of everything that went before me, of all I have been seen done, of everything done-to-me."
“I am the sum total of everything that went before me, of all I have been seen done, of everything done-to-me. I am everyone everything whose being-in-the-world affected was affected by mine. I am anything that happens after I'm gone which would not have happened if I had not come.”
―from MIDNIGHT'S CHILDREN by Salman Rushdie
A classic novel, in which the man who calls himself the "bomb of Bombay" chronicles the story of a child and a nation that both came into existence in 1947—and examines a whole people's capacity for carrying inherited myths and inventing new ones. READ more here: http://knopfdoubleday.com/book/158932/midnights-children/


--from "Midnight's Children" (1981) by Salman Rushdie
光是這選句,沒什麼了不起。不過,這是本長篇小說。



A contemporary classic novel, in which the man who calls himself the "bomb of Bombay," chronicles the story of a child and a nation that both came into existence in 1947—and examines a whole people's capacity for carrying inherited myths and inventing new ones.

MIDNIGHT'S CHILDREN. 此書台灣商務有譯本:午夜之子,有詳註。

Salman Rushdie and Midnight's Children

http://forum.bomoo.com/showthread.php?t=1804

紐約時報
April 19, 1981
A Novel of India's Coming of Age
By CLARK BLAISE



MIDNIGHT'S CHILDREN
By Salman Rushdie.


The literary map of India is about to be redrawn. The familiar outline - E.M. Forster's outline essentially - will always be there, because India will always offer the dualities essential for the Forsterian vision: the open sewer and the whispering glade, Mother Theresa and the Taj Mahal. Serious English-language novelists from India (often called Indo-Anglians), or those from abroad who use Indian material, have steered a steady course between these two vast, mutually obliterating realities; hence the vivid patches of local color provided by the timeless South India of R.K. Narayan's novels and the cool pastels added by the later fiction of Anita Desai. The Indian novels of Paul Scott and Ruth Jhabvala also fall comfortably between those two poles. For a long time it has seemed that novels from India write their own blurbs: poised, witty, delicate, sparkling.
What this fiction has been missing is a different kind of ambition, something just a little coarse, a hunger to swallow India whole and spit it out. It needed a touch of Saul Bellow's Augie March brashness, Bombay rather than Chicago-born, and going at things in its own special Bombay way. Now, in ''Midnight's Children,'' Salman Rushdie has realized that ambition.
If I am to do more than describe my pleasure in this book, if I am to summarize and interpret, I would have to start by saying that ''Midnight's Children'' is about the narrator's growing up in Bombay between 1947 and 1977 (and about the 32 years of his grandparents' and parents' lives before that). It is also a novel of India's growing up; from its special, gifted infancy to its very ordinary, drained adulthood. It is a record of betrayal and corruption, the loss of ideals, culminating with ''The Widow's'' Emergency rule. As a growing-up novel with allegorical dimensions, it will remind readers of ''Augie March'' and maybe of Gunter Grass's ''The Tin Drum,'' Laurence Sterne's ''Tristram Shandy,'' and Celine's ''Death on the Installment Plan'' as well as the less-portentous portions of V.S. Naipaul. But it would be a disservice to Salman Rushdie's very original genius to dwell on literary analogues and ancestors. This is a book to accept on its own terms, and an author to welcome into world company.
The ''midnight's children'' of the title are the 1,001 children born in the first hour of Indian independence, Aug. 15, 1947. Two of these babies are born in the same Bombay nursing home on the very stroke of midnight: a boy born to wealth and a boy born to the streets. And, of course, a nursemaid switches babies: a street singer cuckolded by a departing Englishman is given the aristocratic Muslim infant and names him Shiva; a wealthy Kashmiri-descended family, the Aziz/Sinais, is given the ''cucumber-nosed'' English-Hindu and names him Saleem. Shiva and Saleem (the narrator) are destined to be mortal enemies from the stroke of midnight.
Saleem receives all the attention. His birth is celebrated with fireworks, and Prime Minister Nehru sends a letter saying that his fate will forever be entwined with that of India. Growing up on a Bombay estate, he bumps his head one day while hiding in his mother's laundry hamper and discovers a gift for telepathy. From the age of nine, he can enter other lives at will, see through walls, plumb all secrets, including the secret of his true parentage. But his telepathic gifts bring death and destruction and very little happiness. He discovers that every one of the midnight children is miraculously gifted; only Saleem is telepathic, but some can travel through time (and even report that India is destined to be ruled by a ''urinedrinking dotard'') and one can change sex at will. The extravagance of Mr. Rushdie's inventions will call to mind the hovering presence of Gabriel Garcia Marquez; call it a tropical synchronicity.
The midnight children are the hope of the nation, and they await Saleem's calling of a ''midnight parliament.'' The only thing inhibiting Saleem from embracing his political destiny arises from his fear of the murdering street tough Shiva, whom he knows to be the rightful inheritor of all his privileges. And so, because of Saleem's fear and guilt, the gifts of the midnight children are never pooled. When they do finally meet, it is during Mrs. Gandhi's ''Emergency.'' Because of the threat they pose to the Only True Succession, the 581 surviving midnight's children are sterilized, and then treated to an even deadlier procedure: They are sperectomized - drained of hope.
(Perhaps you wondered about the real reasons for the Emergency, the various Indo-Pakistani wars, the deaths of certain Indian and Pakistani political figures? Simple: to destroy Saleem, the Sinais and the gifted extended family of midnight's children. The plot of this novel is complicated enough, and flexible enough, to smuggle Saleem into every major event in the subcontinent's past 30 years. Saleem the Nose - variously called Snotnose, Stainface, Baldy, Sniffer, Buddha and Piece-of-the-Moon - knows).
The complex plotting of the book can be gauged (and its playfulness appreciated) by observing how closely an old seer's prophecy is followed. Of Saleem, it is predicted shortly before his birth: '' 'A son ... who will never be older than his motherland - neither older nor younger. ... There will be two heads - but you shall see only one - there will be knees and a nose, a nose and knees. ... Newspaper praises him, two mothers raise him! Bicyclists love him - but, crowds will shove him! Sisters will weep; cobras will creep. ... Washing will hide him - voices will guide him! Friends mutilate him - blood will betray him! ... Spittoons will brain him - doctors will drain him - jungle will claim him - wizards reclaim him! Soldiers will try him - tyrants will fry him ... He will have sons without having sons! He will be old before he is old! And he will die ... before he is dead.' ''
As a Bombay book, which is to say, a big-city book, ''Midnight's Children'' is coarse, knowing, comfortable with Indian pop culture and, above all, aggressive. Salman Rushdie assumes that the differences between Colaba and Chembur are as important, and can be made as interesting, as the differences between Brooklyn and The Bronx. ''We headed north,'' Saleem notes, ''past Breach Candy Hospital and Mahalaxmi Temple, north along Hornby Vellard past Vallabhbhai Patel Stadium and Haji Ali's island tomb ... We were heading towards the anonymous mass of tenements and fishing-villages and textile-plants and film-studios that the city became in these northern zones. ...'' Its characters speak in many voices: ''Once upon a time there were Radha and Krishna, and Rama and Sita, and Laila and Majnu; also (because we were not unaffected by the West) Romeo and Juliet, and Spencer Tracy and Katherine Hepburn.'' Much of the dialogue (the best parts) reads like the hip vulgarity - yaar! - of the Hindi film magazine. The desiccated syllables of T.S. Eliot, so strong an influence upon other Anglo-Indian writers, are gone. ''Midnight's Children'' sounds like a continent finding its voice.
How Indian is it? It is slangy, and a taste for India (or a knowledge of Bombay) obviously heightens the response. Here is a description of a cafe where Saleem's mother goes secretly to meet her dishonored first husband: ''The Pioneer Cafe was not much when compared to the Gaylords and Kwalitys of the city's more glamorous parts; a real rutputty joint, with painted boards proclaiming LOVELY LASSI and FUNTABULOUS FALOODA and BHEL-PURI BOMBAY FASHION, with filmi playback music blaring out from a cheap radio by the cash-till, a long narrow greeny room lit by flickering neon, a forbidding world in which broken-toothed men sat at reccine-covered tables with crumpled cards and expressionless eyes.'' Very Indian.
Of course there are a few false notes. There is a shorter, purer novel locked inside this shaggy monster. A different author might have teased it out, a different editor might have insisted upon it. I'm glad they didn't. There are moments when the effects are strained, particularly in the early chapters, when an ancient Kashmiri boatman begins sounding like ''The Two-Thousand-Year-Old Man.'' On a more serious level, Mr. Rushdie at first has a difficult time endowing the villains of Indian politics with mythic stature (Grass's Germany made it so easy); petty household intrigues seem more momentous than the misaffairs of state (Marquez's Latin America made it easy too). But with Ayub Khan, the Bangladesh war, ''The Widow'' and her son, the later pages darken quite handsomely. The flow of the book is toward the integration of a dozen strongly developed narratives, and in ways that are marvelous to behold, integration is achieved. The myriad personalities of Saleem, imposed by the time, place and circumstance of his extraordinary birth (''So much, yaar, inside one person,'' remarks a Pakistani soldier, of the Saleem then known as Buddha, the tracker, ''so many bad things, no wonder he kept his mouth shut!''), are reduced to a single, eloquent, ordinary soul. The flow of the book rushes to its conclusion in counterpointed harmony: myths intact, history accounted for, and a remarkable character fully alive.
Clark Blaise's most recent books are ''Lunar Attractions,'' a novel, and ''Days and Nights in Calcutta'' (with Bharati Mukherjee), a memoir. He teaches at Skidmore College.

Books of the Times



Published: April 23, 1981
By John Leonard MIDNIGHT'S CHILDREN. By Salman Ru shdie. 446 pages. Knopf. $13.95.
IT is impossible to resist a novel that contains the sentence ''My sister the Brass Monkey developed the curious habit of setting fire to shoes.'' Or one that will pause to observe, as it considers an unhappy India, ''Sacred cows eat anything.'' According to ''Midnight's Children,'' guilt is a fog, optimism is a disease, freedom is a myth, fried spiders cure blindness and ''Gandhi will die at the wrong time.'' Nevertheless, Salman Rushdie chortles.
We have an epic in our laps. The obvious comparisons are to Gunter Grass in ''The Tin Drum'' and to Gabriel Garcia Marquez in ''One Hundred Years of Solitude.'' I am happy to oblige the obvious. Like Grass and Garcia Marquez, Mr. Rushdie gives us history, politics, myth, food, magic, wit and dung. He adds, in no particular order, a blind art lover, a poet who is verbless and impotent, some vultures and cobras, a peep show and many clocks, telepathy and the nose as a genital organ.
His children of midnight were born on Aug. 15, 1947, at the stroke of independence for India. Saleem Sinai tells us, ''From the moment of my conception, it seems, I have been public property.'' And why not? Didn't Nehru himself send a personal letter of congratulation? Won't Saleem himself be a ''mirror'' of the new nation? 1,001 Gifted Children
Of course, there are two new nations, whether they like it or not. One of them is Pakistan. And Saleem understands himself to be a Moslem. And when, at the age of 9, in a laundry hamper, he comes to appreciate his telepathic powers, he comes also to understand that there were 1,000 other babies born on that same stroke of midnight. Each has a secret resource which consorts with the occult. Notice: 1,001 gifted children; we have enough tales for Scheherazade. And those siblings, India and Pakistan, would murder in the crib.
Mr. Rushdie, whose other novel, ''Grimus,'' I haven't read, was born in Bombay and now lives in London. Bombay is the viscera of this novel, as Danzig was for Gunter Grass in ''The Tin Drum.'' But the ice-blue eyes of Saleem, a Kashmiri, look back at a history of lakes and mountains, of red sails, at memory itself, which, like fruit, is saved ''from the corruption of the clocks'' by the act of writing.
Partition - into India and Pakistan - is a fraud, like the parted middle of the hairpiece on the bald head of the Englishman Methwold, who insists on observing his particular amenities until the clock ends the colonial occupation. ''The baby in my stomach stopped the clocks,'' says one character. Saleem, considering the future, wonders: ''Was genius something utterly unconnected with wanting, or learning how, or knowing about, or being able to?'' Such a subcontinent doesn't have a chance. Since 1947 it has been a bad Indian movie.
Fragmentation is the theme of the novel, from the sheet with the hole in it through which Saleem's grandfather is permitted to glimpse portions of the body of the woman he will marry, all the way to a dismembering of history. ''We are a nation of forgetters,'' Saleem says, and he isn't even sure of his own father. He is reading aloud, like Scheherazade, his dreams, as if to impress a departed wig.
Mr. Rushdie isn't nice, although he is funny and vulgar. The world of ''Midnight's Children'' is not at all genteel, as the world of Anita Desai tends to be. It is the shadow in Paul Scott's mirror or, perhaps, what E. M. Forster heard in the cave, with a lot of symbolic curry added - the clocks, the dreams, ''the ambiguity of snakes,'' the moon and the silver spittoon, the fishermen and the clowns. He is asking: who broke us apart, and why must we die, fragmented, for a failed India? And 1,001 Plots
Why failure? Mr. Rushdie plays many games; the reader needs to be a loyal modernist. ''Midnight's Children,'' with its 1,001 plots, is an exercise in criticism. Saleem is at once Superman, Sinbad and Pinocchio, not to mention Buddha. Eating, he speaks of ''pickled chapters.'' We are reminded that ''no audience is without its idiosyncracies of belief.'' Unspoken words cause bloat. His ear, the woman Patma who must listen to him read aloud his autobiography, deserts him for a while, and he is unmoored. Of himself, he says:
''I was a radio receiver, and could turn the volume down or up; I could select individual voices; I could even, by an effort of will, switch off my newly discovered ear.'' The signals he is receiving are from the children of the midnight clock; they will die with the nation; they will burn like shoes.
If I understand Mr. Rushdie, he is equally outraged by (1) the English imposition on India; (2) Indira Gandhi's ''emergency,'' which did away with liberal democracy in India, and (3) the novel itself, which can't find out how to explain partition and fragmentation and a hole in the spiritual heart. We occupy this hole, and laugh while clenching fists. I wish Mr. Rushdie's children, all of them orphans of history, would take over the world at dawn. This novel - exuberant, excessive, despairing -is special.

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