Books That Changed the World改變歷史的書

Books That Changed the World - Google 圖書結果

Robert B. Downs - 2004 - Fiction - 352 頁
Examines the content and impact of works, including the Bible, the Iliad, Civil Disobedience, Das Kapital, and Silent Spring, that have influenced the course of ...
這書是修正版
初版台灣翻譯成改變歷史的書 (據譯者彭歌先生在90年代的版本說，它在純文學出版社時代，再刷超過百次......。)
不過，有特多西方文化歷史待加注。

以下用達爾文一處
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Full text of "Fifty years of Darwinism;"
... I think, as Bishop Wilkins'8 locomotive that was to sail with us to the moon
." l These wild criticisms were soon set to rest by Henry Fawcett's article ...


John Wilkins

English mathematician and scientist (1614–1672)

Born at Fawsley in Northamptonshire, Wilkins was educated at Oxford University, graduating in 1631. He was a parliamentarian during the English Civil War and became warden of Wadham College, Oxford University. In 1659 he was appointed master of Trinity College, Cambridge University. After the Restoration he lost his post but regained favor to become bishop of Chester.

Wilkins's chief contribution to the development of science was his part in founding the Royal Society. His influence can be traced back to his student days at Oxford when he collected around him a lively group of philosophers and scientists who later became founder members of the society in 1662. His own writings covered a wide range of fields and although he had a certain amount of mathematical knowledge he was more a practical scientist. His Discovery of a World in the Moon (1638) is a fantasy in which he speculated about the structure of the Moon. A later semimathematical work, Mathematical Magick, deals with the principles of machine design and in it Wilkins argued that perpetual motion is a theoretical possibility. One nonscientific interest to which Wilkins devoted much time was his project of devising a universal language.

College history

The College was founded on September 7th 1994 and currently meets three times in each year on the 2nd Monday in May, 3rd Tuesday in September and 1st Wednesday in December.
It takes its name from John Wilkins, Bishop of Chester. Wilkins was educated at Magdalen, Oxford and in 1648 he became warden of Wadham College. In 1659 he was appointed as Master of Trinity College, Cambridge by Richard Cromwell. In 1668 he became Bishop of Chester.
A champion of science, he expounded the discoveries and theories of Copernicus, Galileo and Kepler. He was a founder and first Secretary of the Royal Society. Wilkins died in 1672 in London.
The College motto is "Venite Gradatim Repetamus Opera Dei" (Come, let us gradually seek the works of God).

British Museum

Political philosopher and revolutionary Thomas Paine was born‪#‎onthisday‬ in 1736 http://ow.ly/HOhon

Common Sense 常識

武者小路 実篤：実篤の生涯；《維摩經》/『梵漢和対照・現代語訳 「維摩経」』

http://www.mushakoji.org/saneatsu/life.html

実篤の生涯

武者小路実篤（むしゃこうじ　さねあつ／1885～1976年）は、明治43（1910）年に友人・志賀直哉らと雑誌『白樺』を創刊し、以後、60年余にわたって文学 活動を続けてきました。小説「おめでたき人」「友情」「愛と死」「真理先生」、戯曲「その妹」「ある青年の夢」などの代表作、また多くの人生論を著したこ とで知られ、一貫して人生の讃美、人間愛を語り続けました。

大正７（1918）年には「新しき村」を創設し、理想社会の実現に向けて、実践活動にも取り組みました。
また、『白樺』では美術館建設を計画し、昭和11（1936）年の欧米旅行では各地の美術館を訪ねるなど、美術にも関心が深く、多く評論を著しています。

自らも40歳頃から絵筆をとり、人々に親しまれている独特の画風で、多くの作品を描きました。
実篤はその生涯を通じて、文学はもとより、美術、演劇、思想と幅広い分野で活動し、語り尽くせぬ業績を残したのです。

情人節巧克力禮盒

お知らせ

2015.1

「実篤チョコ」2015年バレンタインシーズン限定版発売

　毎年大変ご好評をいただいております武者小路実篤記念館のバレンタインシーズン限定チョコレートを2015年も発売します。
　今年は、洋菓子メーカー・モロゾフの缶入りチョコレートで、オリジナルパッケージを作成しました。
　金色の缶には、ゴッホ「向日葵」の絵と、実篤の詩「バン・ゴッホ」をあしらいました。この絵は、実篤らが大正6（1917）年に提唱した「白樺美術館」設立運動に賛同した神戸の実業家・山本顧弥太氏が購入した作品で、惜しくも昭和20年に戦災で焼失しました。缶に使用した写真は、大正10（1921）年に発行された『白樺社発行セザンヌ　ゴオホ画集』（当館所蔵）から採ったもので、この作品の色彩を伝える唯一の貴重な資料です。
　銀色の缶には、実篤の色紙「バラ　共に咲く喜び」と言葉をあしらいました。実篤の言葉でも特によく知られており、広く親しまれている言葉で、当たり前のようでいて深い意味を持つこの言葉は、気持ちをチョコへ託すバレンタインにふさわしい言葉ではないでしょうか。
　缶の中には幅広い人気のミルクチョコを16粒ほど詰めました。
　食べ終わったら、缶は小物入れなどに使えます。
　各1,500個、合計3,000個限定で、1月20日に発売します。予約は15日から受付を開始します。
　１個500円（税別）です。 

武者小路 実篤（むしゃのこうじ さねあつ、1885年（明治18年）5月12日 - 1976年（昭和51年）4月9日）は、日本の小説家・詩人・劇作家・画家。

武者小路實篤（1885年5月12日－1976年4月9日），日本小說家・詩人・劇作家，愛稱「武者」。白樺派的代表作家之一。

生平

東京府東京市麴町區（現・東京都千代田區）出身。出自藤原北家支流・閑院流末裔公卿之家系武者小路家，子爵・武者小路實世之第8子。
歷經學習院初等科、中等科、高等科，1906年，入東京帝國大學社會學科。1907年，東大中退。1910年，與志賀直哉、有島武郎、有島生馬等人創刊文學雜誌『白樺』。因此被稱為白樺派。對托爾斯泰傾倒。
他是新村主義的倡導者。為實現烏托邦的理想，分別在宮崎縣兒湯郡木城村（現・兒湯郡木城町）和埼玉縣入間郡毛呂山町建設「新村」。
1946年，就任貴族院議員。1951年，文化勳章受章。1976年，由於尿毒症，在東京病逝。享年90歳。

代表作

• 『お目出たき人』（1911年）
• 『幸福者』（1919年）
• 『友情』（1920年）
• 『人間萬歳』（1922年）
• 『愛と死』（1939年）
• 『真理先生』（1951年）

代表作 [編集]

• 『荒野』 - 国立国会図書館　1908年
• 『お目出たき人』 - 国立国会図書館　1911年
• 『世間知らず』　
• 『その妹』　1915年
• 『幸福者』　1919年
• 『友情』　1919–1920年
• 『人間万歳』　1922年
• 『或る男』　1921–1923年
• 『愛慾』　1926年
• 『わしも知らない』　1926年
• 『母と子』　1927年
• 『棘まで美し』　1930年　
• 『愛と死』　1939年
• 『大東亜戦争私観』　1942年　
• 『真理先生』　1949–1951年
• 『馬鹿一』

維摩経 (1956年) (角川文庫)

武者小路 実篤 (著)

• 文庫: 252ページ
• 出版社: 角川書店 (1956)
• ASIN: B000JB1IV0
• 発売日： 1956

《維摩經》 李君奭譯 彰化: 專心企業 1979

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覚え書：「『梵漢和対照・現代語訳　「維摩経」』岩波書店　植木雅俊訳　評・前田耕作」、『読売新聞』2011年11月６日（日）付。

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『梵漢和対照・現代語訳　「維摩経」』岩波書店　植木雅俊訳
評・前田耕作（アジア文化史家・和光大名誉教授）
「文殊との対論」輝き新た

　奈良・法隆寺の美しい五重塔の初層内陣に須弥山を中心として東西南北四つの主題が塑造されていることは、訪れた人なら誰でも知っているだろう。仏伝の時軸に沿えば、北面の涅槃像土、西面の分舎利仏土、南面の弥勒仏像土となろう。東面の維摩詰
（ゆいまきつ）像土だけは他の主題とは切り離され、向かって左に維摩詰、右に文殊菩薩、下段に一群の眷属を配した場面が表出されている。端正な文殊と対照 的に鬚髯（あご髭ひげとほほ髭）を蓄え、口を開き歯をみせ談ずる俗形の維摩との神韻漂う対話の場面となっている。わが国における「対論講説の相」を表す維 摩詰像の原型である。聖徳太子によって法華経・勝鬘経とともに社会救済の実践に不可欠な三経の一つとされたと伝えられる維摩経の最も重要な場面が、太子ゆ かりの寺の塔本に造出されたことの意味は深い。
　紀元後１～２世紀ごろに成立したといわれる『維摩経』がわが国に至りつくまでには、西域や中央アジアでのコータン語、ソグド語訳、中国での漢訳など、重 訳の歴史を経ねばならなかった。日本の仏教に決定的な影響を与えた漢訳には、後３世紀に支謙によって訳された『維摩詰経』と後５世紀初頭、鳩摩羅什によっ て訳出された『維摩詰所説経』がある。
　しかし二人とも中国の人ではない。支謙は「大月氏国」の出であり、鳩摩羅什の出自は「亀茲国」であり、いずれも多言語に通暁した人たちであった。原典の 文学的リズムを伝えるために心砕いた羅什の訳は、言葉が匂い出るように華麗であったが、それでも原語の「美しい文藻」は伝えられないと嘆いたという。後７ 世紀には維摩の故宅・方丈の址を訪ねた玄奘の訳『説無垢称経』もできあがった。

　『維摩経』の和訳は、河口慧海をはじめ多くの人びとによってなされてきたが、いずれも漢訳と蔵訳（チベット語訳）からのもので、肝心の梵語（サンスク リット語）原本からの訳文はこれまでなかった。「本経のサンスクリット原典は、残念ながら現存しない」（仏教学者・長尾雅人）からであった。

　ところが１９９９年の夏、チベットのポタラ宮殿の一隅から思いがけず本経のサンスクリット原典の貝葉（ターラ樹の葉）写本が大正大学の学術調査団によっ て発見されたのである。わが国では千数百年も前から秋１０月になると維摩会を営み、講釈し親しまれてきた本経が初めて原典に基づき、梵漢蔵に相照らして現 代語訳する機会が巡ってきたのである。

　『維摩経』の特色は、釈尊が「最後の旅」の途次立ち寄った商業が盛んな大都城ヴァイシャーリーを舞台にして、この地の雄族リッチャヴィの資産家で妻も子 もあり、俗界に身をおきながらも「確実な知恵」を有し、あちこち自在に出没して「真理の教え」を雄弁に語り、人びとを「大いなる乗り物」（大乗）へと導く 在家の菩薩ヴィマラキールティ（維摩詰）を主人公に据え、言説飛び交う多声的な対話劇に仕立て上げているところにある。　釈尊を慕う遊女アームラパーリの 所有する静かなマンゴーの森の中、従う多くの出家者や菩薩たちと釈尊が「仏国土」について「心清ければ土もまた清浄」と穏やかに語らう時をもつ場から幕が あく。

　しかしこの場には病に伏す維摩の姿はない。衆生病むゆえに病床にある維摩の想いを察した釈尊は弟子たちに見舞いにゆくよう促すが、誰も維摩の日頃の出家 者に対する憚らぬ批判的言辞に怖れをなしてためらう。弟子たちの弁明の言葉が重ねられてゆくにつれ、次第に維摩の空の思想の骨格が明かされる。クライマッ クスは舞台を維摩の自宅（方丈）に移しての文殊菩薩との対論である。生と滅、言語と沈黙のパラドックスをめぐり哲学の核心を衝く問答で、沈思を誘う場面が 圧巻だ。植木氏による現代語訳は、なによりも明晰な訳文と精緻で創意に富む訳注によって古経に新たな生命の輝きと躍動感を返し与えている。

　会津八一は奈良・法華寺の維摩像を歌に詠み、「在家にして大乗の造詣最も深く、思索弁証の無碍自在を以て鳴る」と自注し（『南京続唱』）、武者小路実篤は「いかに生くべきかを教えてくれる」仏典と讃えた。寂寞のひととき熟読するに相応しい書である。
　◇うえき・まさとし＝１９５１年、長崎県生まれ。仏教研究家。著書に『仏陀の国・インド探訪』など。
　◇まえだ・こうさく　１９３３年、三重県生まれ。アジア文化史家・和光大名誉教授。著書に『巨像の風景』『アフガニスタンを想う』など。
岩波書店　５５００円
　　　　－－「『梵漢和対照・現代語訳　「維摩経」』岩波書店　植木雅俊訳　評・前田耕作」、『読売新聞』2011年11月６日（日）付。
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梵漢和対照・現代語訳 維摩経 販売元：岩波書店 Amazon.co.jpで詳細を確認する

Jane Austen's Pride and Prejudice

'We are all fools in love' – Jane Austen's Pride and Prejudice was first published ‪#‎onthisday‬ in 1813 http://ow.ly/HOO8Z

參考翻譯

夏祖麗編著《她們的世界》《風簷展書讀》 《年輕》

《風簷展書讀》(1985)是"純文學叢書"自1967至1984年的百本選書 (共出版二百來本)之序/導言，當然是一時之選。(現在比較少人談"純文學"這種說法)



夏祖麗 《她們的世界》，台北:純文學，1973

……..夏承燾對學生不僅是以言教、身教，更以日常生活教，可以說陪他散一次 步、游一次名勝、訪一次朋友，就可得到不少啟發。這是現代教育沒有辦法做到的。｣----夏祖麗編著《她們的世界‧琦君是散文家兼詞人》台北：純文 學，1973，頁173-81

夏祖麗  《年輕》林懷民序， 台北:純文學，1976三刷

書中的殷允芃已堅信: 只要一個人不斷地努力，他幾乎能得到一切他所要的。( 1975.8 這是篇很精彩的訪問稿。)

王信(台灣攝影師) - 维基百科，自由的百科全书

zh.wikipedia.org/zh-tw/王信_(台灣攝影師)‎Translate this page

王信（1942年3月17日－），台灣第一位系列性的女性報導攝影工作者。她在1974年首先將日本攝影評論家伊奈信男對報導攝影所下的定義引入华语圈，特別強調報導 ...

七○年代的書和我（上） 王鼎鈞；「老蓋仙」夏元瑜

想記一下「老蓋仙」夏元瑜(他米壽時自稱二八年華；Wikipedia 說他86/87歲.......)，得 王鼎鈞此篇：七○年代的書和我（上），應該是他的回憶錄之章節。

夏元瑜- 維基百科，自由的百科全＿書 - Wikipediazh.wikipedia.org/zh-tw/夏元瑜Translate this page夏元瑜（1909年－1995年），祖籍浙江杭州，出生於北平。 ... 夏元瑜認為，「製作標本時，要當作一件藝術品來做，雖然是一件死的標本，神態上還是應該讓人有栩栩如生 ...

散文集25本，或許多佳作：《生花筆》、《流星雨》有張佛千先生的"以聯為序"....



******
七○年代的書和我  王鼎鈞 　(20090204)




-->　有一個名詞叫「版稅屋」，作家可以用版稅買房子。
　有沒有人管小說家高陽的汽車叫「版稅車」？他是第一個駕車送稿的作家。
-->

　出書既然有利可圖，馬上有人以盜印為業，照相製版的技術降低了盜印的成本，也縮短了他們作業的時間。讀者反對盜印，卻以買盜版書為樂，因為它便宜，這是經濟行為與道德行為的矛盾。
　七○年代，台灣步入「讀者養活作家」的時代，市場掛帥的利已見而弊未顯，「趣味純正」仍是大多數讀者的首選，大體上還沒有「劣幣驅逐良幣」，只是「零錢驅逐大鈔」，通論不如漫談，體系不如語錄，大餐不如零食，後來有人歸納為「輕薄短小」。
　讀者難為的時代
　法令規定，作家可以出版自己寫的書，我很想自寫、自印、自銷，做一個自食其力的單幹戶。幼年時期，我見過隱士一樣的自耕農，「日出而作，日入而息，鑿井 而飲，耕田而食，帝力何有於我哉！」詩人如此美化了他們。我心目中還有寫「湖濱散記」的梭羅，他自己製造鉛筆出售，我也沒忘記鄭板橋，他畫竹畫蘭，「不使 人間造孽錢」。
　一九四九年我到台灣的時候，本土的成年人大半讀日文，讀古典漢文，沒有讀「的呢啊嗎」的習慣，青少年還在國音注音符號的幫助下「學而時習之，不亦苦哉。」沒有接受文學作品的能力，外來的「徙入者」壓力大，心情壞，飽受現實煎熬，還是一疊白紙對他用處比較大。
　再說大家也窮，沒有餘錢，我手邊還有幾本舊書，使我想起當年做一個讀者也難。施翠峰譯「哈里我是純潔的」，九十四頁，一九五二年出版，每冊新台幣五元， 可以買五個山東大饅頭，全家一飽。張愛玲「秧歌」，二一○頁，一九五四年出版，每冊新台幣七元，夫婦二人一家兩天的菜錢。我還藏有一本當年的禁書，茅盾寫 的「世界文學名著講話」，開明書局出版，二八五頁，我從舊書攤偷偷摸摸買到，售價二十元，人人說「你真捨得」。
　我必須記下，一九六八年、台灣的第四個「四年經濟計畫」完成了，民眾的收入年年增加，一九七七年（我退休生效的這一年），每戶平均所得新台幣十二萬元，郵政局的儲蓄存款共計五百億元，存戶都是基層公教和小康人家。孩子們口袋裡有了足夠的零用錢，每逢星期天書店裡擠滿了男女學生。
　我必須記下，一九六八年九月，台灣實施九年國民義務教育，小學畢業生不經考試，直接升入初中，從此青少年的教育程度全都提高了。省政府增 設一百七十一所初中，七千六百九十八個班。到一九七○年，台灣已有一千萬人受過小學以上程度的教育，出現「全民閱讀」的盛況。我們曾經應邀參觀成衣加工出 口，偌大的廠房裡望不盡的縫紉機，縫衣的女工都是小姑娘，有人在縫紉機上擺著一本書，一個鈕釦釘好以後，下一個鈕釦對準針眼之前，她朝書本瞄上一眼，她看 的那本書竟是錢穆的「國史大綱」。
　有一個名詞叫「版稅屋」，作家可以用版稅買房子。有沒有人管小說家高陽的汽車叫「版稅車」？他是第一個駕車送稿的作家。
　出書既然有利可圖，馬上有人以盜印為業，照相製版的技術降低了盜印的成本，也縮短了他們作業的時間。讀者反對盜印，卻以買盜版書為樂，因為它便宜，這是經濟行為與道德行為的矛盾。一本書如果暢銷，它在發行後一個月之內就被盜印本逐出市場，作家和出版人都只是為盜印犯做馬前卒，長此以往，台灣文學的發展必然因之遲緩，也許萎縮。
　第一個砲打盜印業的英雄是小說家王藍，他為了保衛長篇小說「藍與黑」的版權挺身出戰，我參加了他這一役。他在法院裡頭打官司保護自己的權益，在法院之 外，他遊說國民黨部、內政部、立法院和新聞媒體，呼籲保護所有文藝作家的權益，他把主觀的利益客觀化。他是「制憲國大」的代表，口袋裡裝著中華民國憲法， 那時公私集會大半邀請他發言，他當著台上大官大老的面，向會眾誦讀有關保護著作權的條文。他集新聞記者、抗日英雄。民意代表、小說作家、政党骨幹於一身， 熟悉運作技巧，加上口才和儀表出眾，把這個冷問題炒熱了。
　說來好笑，那時候政府官 員都忘了版權應該受到保護，中央黨部居然有人表示，保護版權助長文學作品商業化，正確的辦法是多設文藝獎，提高獎金，引導創作的方向。南部有一位作家跟盜 印者對簿公庭，承辦檢察官認為翻印好書乃是一樁功德，予以「不起訴處分」，於是盜印者拿著法院的文書四處宣傳，自稱「合法翻印」。萬事起頭難，難在改變大 家的觀念，王藍在這方面是個先鋒。
　許多作家，包括我在內，也讓自己的權利「睡眠」了，文章發表後拿到稿費，好像這就是全部的收益，出版單行本如果還有錢，那就是「外快」，有時候書已上市，「外快」沒有蹤影，也可以「安之」而已，王藍為版權奮鬥，多少人笑他自我宣傳。
　甦醒的權利
　我配合戰役寫了好幾篇文章，出席有關會議助勢，案件開庭審判，我到法院旁聽，發現被告神態恐懼，知道事有可為。這一役的戰果是，法院之內王藍勝訴，法院 之外，內政部答應修改著作權法，加重對盜印的處罰，中央黨部允諾從中協調，早日完成立法手續，大家從「權利睡眠」中醒來，一個面團團和氣生財的出版商，也 辣手把盜印者送進監獄，連黨國大老王雲五都親自率領警察去逮捕現行犯，他是商務印書館的負責人。作家巡查大小書店，搜羅盜版。我和隱地也曾遠征桃園鶯歌等 地，追究出售盜版書的書商。
　那時著作人要享有著作權，先要經過政府審查認可，大家紛紛向內政部申請登記，這才發現、官僚習氣嚴重，手續諸多不便，要求仿照英美各國改為登記生效，這些願望多年後一一實現，其間又經過許多人持續努力，記得作家林海音、符兆祥都曾是重要角色。
　春江水暖，形成文學市場的黃金十年，白銀十年。有一位朋友勸我退休以後搞出版，他說，「你的書白紙印上黑字就是錢」，一部稿子送到工廠排印，你開出兩個 月兌現的支票，你再把新書出版徵求預約的廣告送到報社，開給他一個月以後兌現的支票，廣告登出來，讀者四面八方向你的帳戶裡匯錢，這筆錢夠你付廣告費，書 印出來，你批給中盤商，再用他的錢付印刷費。「你看，這簡直是無本生意嘛」！
　在此之前，出版社給我出過八本書，手裡握著自己的 書，那種溫軟的感覺，像母親的手掌撫摩你微微發燙的前額，我喜歡那種感覺。據說某些人手中握著鈔票的時候有這種感覺，他們發財，有些人手中握著大印的時候 有這種感覺，他們升官，有些人握著手槍的時候有這種感覺，他們從軍作戰，或者成為將軍，或者成為枯骨。如果你握著書本有這樣的感覺，那也就注定了你的命 運。

　碎琉璃的命運
　以前那八本書銷路很差，看相的人說，我得五十歲才會「成功」。我絕對無意提倡命相之學，生命中有此「插話」，聊資談助而已。我告訴自己，歲月驚心，再不可有一日空過。
　如果我開一家出版社……？我猶豫過。那年代作家和出版社的關係猶如怨偶，書難銷，害出版人白費力氣，作家總懷疑出版社的帳目弄虛作假。出版社賺錢也真 難，某出版社老闆騎著腳踏車，沿街向書報攤收賬，擺攤的退役軍人扯住他的領帶要打，恰巧我碰見了，走上前抬出警備總部壓住他，我知道警總有人負責仲裁退役 軍人和一般民眾的糾紛，怕退役軍人受歧視，也防止退役軍人欺負平民。出版賺錢這樣辛苦，想要他和作家共安樂，恐怕也是希望他作聖賢，玩票寫書，種種流言可 以付之一笑，寫書謀生就要另當別論。自已經營自己的書，一切自作自受，心安理得，倒也能斷卻許多煩惱，如果連連打出王牌，奠定基礎，還可以給朋友盡一點心 意，那有多好。
　我想自己先為賺錢出幾本書，安定生活，再清心寡欲寫，那未必淨賺錢的書。「開放的人生」完稿，有九家出版社爭取出版，小說家隱地創辦的「爾雅」著了先鞭，我的事慢慢來，他退伍創業，應該優先。我的「碎琉璃」先成，小說組同學蔡文甫的「九歌」列為第一批新書，我得給他壯膽，他手中有了「老蓋仙」夏元瑜，台大教授葉慶炳，加上我，才投下資本。好吧，我還有明天。
　順便記下出版界的一則小掌故。某一出版社的老闆Ｓ，對「碎琉璃」很有興趣，我告訴他，這本書只能給「九歌」。文甫兄打算把這本書擺在第一批書的第一 本，Ｓ告訴文甫，「碎琉璃」三個字不吉利，於是夏老的「萬馬奔騰」調上來，這年的生肖恰好是馬。廣告刊出後，Ｓ又來找我，認為「碎琉璃」沒有得到重視，屈 居第二，他預約我的下一本書，許以「好好的安排」。我說，如果有下一本，我要自己出版了。（上）

The Uncommercial Traveller By Charles Dickens 《非商業旅人》

重讀The UncommercialTraveller By  Charles Dickens 《非商業旅人》


1859年12月22日，四十八歲的狄更斯應邀到倫敦商旅學校演講，於是有了靈感，開始在創辦的《一年四季》刊物中陸續撰寫與旅行漫遊相關的雜文。
（第十三篇〈夜間漫步〉被企鵝出版納入「偉大的觀念」系列，成為歷史上100本改變世界、深具影響力與啟迪的作品。）


作者倒是清清楚楚地寫下了當時他的角色：

「沒有地主是我的朋友或兄弟，沒有女侍愛我，沒有服務生崇拜我，沒有擦鞋童仰慕我或欣羨我。沒有任何牛股肉、牛舌或火腿是專門為我烹調，沒有鴿肉派是特別為我而做，旅館廣告不會特別把我列為收件對象....我對商品價格一無所知，就算費盡心力也不曉得怎麼誘使別人購買他不想要的東西（！）....

然而，接下來，我要以正面表述介紹我自己了─我不但是市鎮的旅人，也是鄉間的旅人，而且隨時都在旅途上。打個比方，我代表風土人情兄弟會而遊覽，在珍奇商品方面也人脈頗豐。就實際上而言，我總是一再從我位於柯芬園的住處出外到處游蕩─也許在城市的街道上，也可能在鄉間的小徑裡─觀察許多瑣細的小事，以及少數重大的事物。由於這些事物吸引了我，我想別人可能也會感興趣。

以上就是我身為非商業旅人的主要資歷。」

─節錄自查爾斯‧狄更斯《非商業旅人》

The Uncommercial Traveller is a collection of literary sketches and reminiscences written by Charles Dickens.

In 1859 Dickens founded a new journal called All the Year Round and the Uncommercial Traveller articles would be among his main contributions. He seems to have chosen the title and persona of the Uncommercial Traveller as a result of a speech he gave on 22 December 1859 to the Commercial Travellers' School London in his role as honorary chairman and treasurer. The persona sits well with a writer who liked to travel, not only as a tourist, but also to research and report what he found; visiting Europe, America and giving book readings throughout Britain. He does not seem content to rest late in his career when he had attained wealth and comfort and continued travelling locally, walking the streets of London in the mould of the flâneur, a 'gentleman stroller of city streets'. He often suffered from insomnia and his night-time wanderings gave him an insight into some of the hidden aspects of Victorian London, details of which he also incorporated into his novels.

Contents

  [hide] 

• 1 Stories
• 2 Royal Charter storm
• 3 Chatham
• 4 References
• 5 External links

Stories[edit]

The role of the explorer and investigator of interesting things was explained by Dickens in the introduction to the work:

Allow me to introduce myself—first negatively.

No landlord is my friend and brother, no chambermaid loves me, no waiter worships me, no boots admires and envies me. No round of beef or tongue or ham is expressly cooked for me, no pigeon-pie is especially made for me, no hotel-advertisement is personally addressed to me, no hotel-room tapestried with great-coats and railway wrappers is set apart for me, no house of public entertainment in the United Kingdom greatly cares for my opinion of its brandy or sherry. When I go upon my journeys, I am not usually rated at a low figure in the bill; when I come home from my journeys, I never get any commission. I know nothing about prices, and should have no idea, if I were put to it, how to wheedle a man into ordering something he doesn't want. As a town traveller, I am never to be seen driving a vehicle externally like a young and volatile pianoforte van, and internally like an oven in which a number of flat boxes are baking in layers. As a country traveller, I am rarely to be found in a gig, and am never to be encountered by a pleasure train, waiting on the platform of a branch station, quite a Druid in the midst of a light Stonehenge of samples.

And yet—proceeding now, to introduce myself positively—I am both a town traveller and a country traveller, and am always on the road. Figuratively speaking, I travel for the great house of Human Interest Brothers, and have rather a large connection in the fancy goods way. Literally speaking, I am always wandering here and there from my rooms in Covent-garden, London—now about the city streets: now, about the country by-roads—seeing many little things, and some great things, which, because they interest me, I think may interest others.

These are my chief credentials as the Uncommercial Traveller.

Dickens began by writing seventeen episodes, which were printed in All the Year Round between 28 January and 13 October 1860 and these were published in a single edition in 1861. He sporadically produced eleven more articles between 1863–65 and an expanded edition of the work was printed in 1866. Once more he returned to the persona with some more sketches written 1868–69 and a complete set of these articles was published posthumously in 1875.

The work is not markedly different from articles he contributed to Household Words, an earlier journal, or the contents of Sketches by Boz written near the start of his literary career. They display his wit, humour and occasionally his righteous indignation towards the things that he saw. There is simple reportage, such as an investigation into a shipload of Mormons ready to emigrate in Bound for the Great Salt Lake, but more usually it is the inventive and embroidered descriptions of everyday London life: The City of the Absent, City of London Churches, Shy Neighbourhoods. There are character sketches such as Tramps or excuses for Dickens to retell stories he has been told The Italian Prisoner, Chambers. There is also Dickens' characteristic concerns for the conditions of the poor and oppressed Wapping Workhouse, A Small Star in the East or Titbull's Alms-Houses.

Royal Charter storm[edit]

Further information: Royal Charter (ship)

The Royal Charter broke up on these rocks near Moelfre

The second chapter describes the results of a visit he made to Anglesey in 1859 to investigate the wreck of the Royal Charter, a ship returning from Australia. It was forced onto the rocks in a severe storm in October 1859 – a storm which wrecked many other ships and has become known as the Royal Charter Storm. The Royal Charter was driven ashore on the east coast of Anglesey just north of the village of Moelfre in the early hours of the morning of the 26th, eventually being smashed to pieces against the rocks, with the loss of over 450 lives. Dickens visited the scene and talked to the rector of Llanallgo church, the Rev. Stephen Roose Hughes, whose exertions in finding and identifying the bodies probably led to his own premature death soon afterwards. Dickens gives a vivid illustration of the force of the gale:

So tremendous had the force of the sea been when it broke the ship, that it had beaten one great ingot of gold, deep into a strong and heavy piece of her solid iron-work: in which also several loose sovereigns that the ingot had swept in before it, had been found, as firmly embedded as though the iron had been liquid when they were forced there.

Chatham[edit]

Of particular interest are the elements of autobiography Dickens includes such as his reminiscences and opinions on his childhood home town, Chatham, under the name Dullborough. He also describes the period of enforced inactivity—A Fly-Leaf in Life—he was forced to endure after a collapse due to a hectic schedule of public readings. In Nurse's Stories he revealed one of the sources of his story telling talents and his love of ghost stories: the terrifying tales his nurse delighted in telling the young author.

References[edit]

External links[edit]

• The Uncommercial Traveller at Project Gutenberg
• An earlier speech given to the Commercial Travellers' School – 30 December 1854

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出版業的好時代與壞時代Peters Fraser & Dunlop首席執行官卡羅琳•米歇爾為英國《金融時報》撰稿
全球圖書行業已經變得面目全非。不妨問問暢銷書《合適郎君》(A Suitable Boy)的作者維克拉姆•塞斯(Vikram Seth)。據報導稱，由於未能按時交付手稿，企鵝蘭登書屋(Penguin Random House)本月已要求他退還170萬美元預付款。 2012年9月，企鵝因同樣理由起訴了它的數名作者。這些案例表明，作者們必鬚根據出版經濟的新特點，迅速做出調整。作家們比以往有了更多機會，但能遷就他們的商業理由也更少了。全球閱讀的人數越來越多：印刷版圖書銷量或許略有下降，但電子書銷量增長強勁。這就是當前圖書生意的基本背景。任何時候討論到出版，亞馬遜(Amazon)、谷歌(Google)、蘋果(Apple)以及越來越多地還有三星(Samsung)等名字被提及的頻繁度，已趕上了企鵝、哈珀柯林斯(HarperCollins)和阿歇特(Hachette)。這類科技企業是圖書行業的後來者，它們實力強大，資金充足，渠道廣闊。正如行業雜誌《書商》(The Bookseller)總編輯菲利普•瓊斯(Philip Jones)所言：“這個行業正悄悄呈現出一種新面貌。”數字革命意味著，不會有哪本書會絕版，也不會有哪本書無法出版。數字革命意味著，無論身在何時、身處何地，想要一本什麼格式的書，你都能找到並訂購到它。這是包括作家在內的出版行業所有傳統角色都面臨的挑戰——作家受到的要求將更苛刻。作家與出版商一直構成出版業傳統的核心關係。但過去30年來，行業整合以及近來興起的電子出版改變了一切。出版商遷就作者的理由更少了，這部分是由於，科技揭示出該行業的一條真相——幾乎無法預測出一本暢銷書。在數字化之前的時代，出版的圖書中幾乎80%是賠錢的。因此，每年只要出版一兩本暢銷書，出版社就能取得成功。我曾在出版業工作過幾年，那時董事會會議的一個主題就是，穿著灰色西裝的人目光凌厲地盯著預算，嘴裡說到：“你們為什麼沒出不了更多暢銷書？”我們為什麼沒有考慮這個問題？圖書出版業與所有的創意性行業一樣，市場決定什麼是暢銷書。弗雷德里克•福賽思(Frederick Forsyth)的《豺狼的日子》(The Day of the Jackal)和J•K•羅琳(JK Rowling)的《哈利•波特》(Harry Potter)系列的退稿通知已經成為業界傳奇，同樣傳奇的還有出人意料的暢銷書，例如塞巴斯蒂安•福克斯(Sebastian Faulks)的《鳥鳴》(Birdsong)以及丹•布朗(Dan Brown)的《達芬奇密碼》(Da Vinci Code)和EL•詹姆斯(EL James)的《五十度灰》(Fifty Shades Of Grey)。這些書走紅都得益於市場推廣，在被讀者發現以後，開始廣泛流傳。出版商並不能打造暢銷書，他們只是推動暢銷書走向了市場。在一個成本被削減、利潤率承壓的當今世界，出版的能力幾乎是無限的，下一個暢銷作家無法預測。最容易的就是把目標對準未交稿圖書的巨額預付款，例如塞塞。預付款可能有數十萬之多。以往，編輯或者出版商可以竭盡全力保護或者重談合同，因為作家圈很小，這麼做會在公共關係方面造成惡劣影響。這還表明出版商冷酷無情，未向藝術家提供充分的保護。但對資產負債表來說，減少預付款是顯而易見、十分合理的。商業大潮席捲而來，把傳統的作家-出版商關係吹得煙消雲散。短期財務指標成了必須考慮的問題。對於一名作家而言，簽下無懈可擊的合同非常關鍵。在這樣的合同下，出版商可以要求退還預付款的唯一情況，是作家未能如期交付書稿。不過，這裡出版業也呈現出積極的一面：這是作者的黃金時代。在他們面前敞開了更多分銷渠道、更廣闊的銷售範圍、更多機會維持圖書的出版狀態。還有諸多創新性措施來改善圖書的閱讀體驗，例如whispersync可以讓讀者在閱讀電子書與聆聽有聲書之間隨意轉換，不用擔心丟失閱讀進度。作家的作品能夠諸多格式呈現給讀者。出版業正在把作者的作品推向更多市場：作為文學代理機構，我們正在甚至半年前都不存在的市場上做交易。例如，我們與亞馬遜合作，直接用新格式出版丹尼斯•惠特利(Dennis Wheatley)、哈蒙德•英尼斯(Hammond Innes)與馬格麗•阿林厄姆(Margery Allingham)等人的電子書。出版業高枕無憂之前尚需做出努力。我們看到傳統電影和音樂行業幾近消亡。但即便這兩個行業，如今也認可了所汲取到的教訓。正如國際唱片業協會(IFPI)首席執行官弗朗西絲•穆爾(Frances Moore)所言：“唱片業正已踏上復甦之路。業內出現了一種久違了的愉快氛圍。”出版業正逢復甦的絕佳時機——儘管企鵝可能仍在懷疑，塞斯是不是他們應鼎力支持的“如意郎君”。本文作者是文學與人才代理機構Peters Fraser & Dunlop的首席執行官譯者/倪衛國


2012/2/17 台大學生活動中心 某哲學黃老師:

佐藤將之，2003.12，〈日本二十世紀荀子研究的回顧〉，《國立政治大學哲學學報：

荀子研究/《荀子》

國立政治大學哲學學報【第十ㄧ期】目錄／Contents


編者序……………………………………………………….i


柯雄文

「國際荀子研究專號」序言……………………………… iii

王靈康

英語世界荀子研究概況 …………………………………1 全文
佐藤將之

二十世紀日本荀子研究之回顧 …………………………39 摘要

赤塚忠

荀子研究的若干的問題………………………………… 85 摘要

菅本大二

荀子對法家思想的接納：由「禮」的結構來考察…… 111 摘要

尤銳

荀子對春秋思想傳統的重新詮釋 ………………………137 全文
莊錦章

荀子與四種人性論觀點 …………………………………185 摘要

投稿須知及論文體例 ………………………………………211

Style Guide and Information for Authors…………………… 217

《國立政治大學哲學學報》一~十一期索引 ………………219

第十一期 中華民國九十二年十二月

Vol. 11 / December 2003

道家禪學 海德格與當代藝術

陀斯妥耶夫斯基哲學

Epicurean Political Philosophy

神聖與世俗 by M. Eliade

責任及控制 北京華夏


Fred Sommers - The logic of natural language - Oxford, Clarendon Press, 1982

[PDF]
Understanding:A Phenomenological-Pragmatic Analysis. By Gary B ...

Ga r yB. Madison, Understanding: A Phenomenological-Pragmatic Analysis (West- port, Conn.: Greenwood Press, 1982). The Review of Austrian Economics, Vol.


經濟新潮出版社的一些因緣

感謝博華贈四本經濟新潮出版社的書





《關懷的力量》
米爾頓‧梅洛夫(Milton Mayeroff)





《了解總體經濟的第一本書：想要看懂全球經濟變化，你必須懂這些》
大衛‧莫斯(David A. Moss)





《從負責到當責：我還能做些什麼，把事情做對、做好？》
羅傑．康納斯 和 湯瑪斯．史密斯(Roger Connors & Thomas Smith)





《鍛鍊你的策略腦：想要出奇制勝，你需要的其實是insight》
御立尚資(Takashi Mitachi)


20110317

以及一些版權事情

我說他前年錯過10年周慶 (百本書)的慶祝

他說15年後會有期

我說很巧今晨有位精實革命的讀者來向我免費諮詢

我說的當然都是書中沒有的重要事情






《精實革命：消除浪費、創造獲利的有效方法》
詹姆斯‧沃馬克(James P. Womack)丹尼爾‧瓊斯








我們曾為此書開讀書會




《A級人生：打破成規、激發潛能的12堂課》
羅莎姆．史東．山德爾(Rosamund Stone Zander)班傑明．山德爾(Benjamin Zander)
內容簡介
　　本書的兩位作者，一位是「知名的音樂指揮家」，一位是「企業教練╱心理治療師」，他們帶來非常精采的人生故事，可以幫助每一個人發揮自我的潛能。例如：

關於人生（「全都是編造而來」）：

　 　有一家鞋廠派了兩名行銷人員到非洲去，研究開拓市場的前景如何。其中一位發了電報回來說：「完全無望句點因為沒人穿鞋」。另一位則是得意洋洋地說：「前 途光明商機無限句點他們根本沒有鞋」。 相由心生。他們帶著自己的眼界來到現場，回頭說的卻是截然不同的故事。人生，是創造出來的；人生，就看你要說什麼樣的故事。

12. 關於領導（「人人都是領導者」的故事）：

　 　經過二十年的指揮生涯，我終於領悟到，交響樂團的指揮在演出當中並沒有發出任何聲音。他的照片或許會出現在CD的封面上，上面的姿勢千奇百怪，但是他真 正的力量在於，他有能力讓別人產生力量。領導者的成功不在於賣弄其個人技巧，而在讓其「部屬」盡情地發揮所能。任何組織的領導者也應該這樣，協助部屬釋放 潛能。

3.關於激勵（「給一個A」的故事）：

　　每學期開始的第一堂課，我都會告訴所有的學生說：「大家都會得到A。」 條件只有一個，就是每位學生都要寫給我一封信，開頭是「我拿到了A，因為我……」也就是說，學生們在學期開始的時候就要告訴我，學期結束時，他們會做到、 學到哪些事情，成為什麼樣的人，才有資格拿到A的成績。打分數、評量式的教育，最大的問題是，學生們會不敢冒險，放棄其他可能性，答案只有正確答案，而且 會產生競爭的心態。在課堂中、生活裡，如何啟發想像力、責任感，「給一個A」給我們很好的啟示。

4.關於放輕鬆（「第六號規則」的故事）

　　「如果你出了錯……一隻五百磅重的母牛就會掉在你頭上。」 我們在這個充滿競爭的世界裡，很容易把自己培養成「算計的自我」，也就是把每一件事都看得很嚴重，不能出錯。如何放輕鬆？這是一個好例子。

　 　這本書的12堂課，可以幫助我們打開自我的可能性（潛能），讓我們在人際關係、領導力、為人處事、面對困境、衝突時能更圓融，有效跨越人生的障礙。在混 沌人世間，我們經常會找不到方向，手足無措，例如當你面對一個難纏的人，你決定「給一個A」，然後發現問題不再是問題；眼前發生了嚴重的阻礙，彷彿世界末 日來臨，想想「第六號規則」，你決定不要那麼正經八百，發現這不過是玩笑一場——每一堂課都是個人與組織轉化、成長的機會。

作者簡介

羅莎姆．史東．山德爾(Rosamund Stone Zander)

　 　是一位企業教練與家庭系統治療師。山德爾女士為企業與政府機構設計過一些課程，並主持過許多工作坊，包括亞斯本國際菁英組織(Aspen Institute)、英國市政機關、美國國家公共電台、世界經濟論壇等。她也是一位畫家，1981年的首次個展展出其風景畫。她的網址是 http://www.rosamundzander.com/

班傑明．山德爾(Benjamin Zander))

　 　是知名的指揮家，從1979年開始即擔任波士頓愛樂管弦樂團(Boston Philharmonic)的指揮。他與倫敦愛樂有定期合作，並錄製了完整的貝多芬與馬勒的交響曲，由Telarc唱片公司發行。他在波士頓的新英格蘭音 樂學院(New England Conservatory)任教超過三十年。

　　山德爾生於英格蘭，九歲開始作曲，曾經師事班傑明．布 烈頓(Benjamin Britten)與伊默根．郝斯特(Imogen Holst)，並接受大提琴宗師卡薩多(Gaspar Cassado)的指導。除了音樂方面的發展之外，過去十年來，山德爾常被各大機構邀請演說，闡述他的領導方法與創意。由於在跨文化理解上的傑出貢獻，他 獲得1999年在瑞士戴佛斯(Davos)舉辦的世界經濟論壇的「水晶獎」。他的網址是http://www.benjaminzander.com/




 最近，資優教育、學生補習的問題引起社會關注，然而追本溯源，問題出在「升學主義」、「分數至上」的觀念根深柢固。

其實，每個孩子都是寶，也都有他的獨特之處。
 應該救起每一個孩子，不要讓「成績」主宰了他們的人生。這讓我想到「給一個A」的故事：

 米開朗基羅的話經常被人引用，他說：
 在每一塊石頭或大理石裡， 都住著一座美麗的雕像，
 你只要除去多餘的材質，就可以顯現它內在的藝術。
 如果我們把這個充滿智慧的觀念應用在教育上，
 就不應該在孩子之間「做比較」。
 其實，所有的精力都應該用在切割石塊上，
 去除孩子的障礙，
 讓每個孩子都能夠培養技能，熟練精通，有能力表達自己。
 我們稱這個法門為「給一個Ａ」。
 這是一種令人充滿朝氣地、親近人的方法，
 是一種態度上的轉變，
 讓你可以自由自在地談論自己的想法與感覺，
 也支持別人成為他們夢想中的自己。
 當你「給一個Ａ」， 你會發現自己不是從測量的角度出發，
 不是以你的標準在衡量他們的表現如何，
 而是站在一個尊重他們的位置， 讓他們有實現自我的空間。
 你的焦點是放在那個粗糙未經琢磨的石塊裡面的雕像。
 假如我們從一開始就給每個學生一個Ａ，結果會怎樣？

 每學期的第一堂課，
 我都會告訴所有的學生說：「大家都會得到A。」
 條件只有一個，
 就是每個學生都要寫一封信給我，
 一開頭是：「親愛的山德爾老師，我拿到了A，因為……」
 也就是說，學生們在學期開始的時候就要告訴我，

 他們會做到、學到哪些事情，
 成為什麼樣的人，
 才有資格拿到A的成績。
 在最初幾個星期，

 一個來自臺灣的學生舉手了。

 「在臺灣，」他說：
 「我在一個70個人的班上排名第68。
 我來到波士頓，山德爾老師說我是個得到Ａ的學生。

 我不懂……我第68名，可是山德爾老師說我是個得到Ａ的學生……
 有一天， 我發現這比第68名快樂多了。 所以我決定，我是一個拿Ａ的學生。」
 這個學生在一片光亮之中，撞見了「生命的祕密」。
 他了解這全是編造而來， 只是遊戲一場。 第68名是編造的， Ａ也是編造的， 因此我們也可以編造一些東西， 好照亮我們自己和身邊的人的生命。
 「Ａ」帶有一種測量的感覺， 但我們提議給一個Ａ，並不是要用一些標準來測量人們的表現。
打從我們小時候開始， 分數便讓我們的意識產生一些僵化的判斷， 而我們給這個Ａ，> 就是要巧妙去除這些判斷所造成的箝制。
 這個Ａ是一種發明， 它可以為老師和學生、雇主與員工， 以及任何人類之間的互動創造出潛境（possibility）。

> 給你自己一個Ａ，並不是要你自我吹噓， 不是要你朗誦自己的成就。 自由給予的Ａ可以讓你脫離「成敗的階梯」， 讓你可以看到自己的全部， 成就真正的自己， 不用去反抗或拒絕自己的任何一部分。
 當我們「給一個Ａ」，我們可能在面對一個和自己截然不同的人時，也能完全地開放。

> ----摘自《A級人生：打破常規、發揮潛能的12堂課》第三章，經濟新潮社出版

20130720_週末我看
近年來對我在教學上最具啟發的演講: 古典樂與發亮的雙眼 --
Benjamin Zander: The transformative power of classical music
Ben Zander 波士頓愛樂管弦樂團指揮家談古典樂所具備的改變力量並以獨樹一格的演講風格展現教育家所擁有的啟發力道.

我特別喜歡 17:23 起他所說的親身故事, 關於 "明亮的雙眼" 與 "集中營女士" 所說的故事.

我並且希望將 19:00 起"集中營女士" 的故事以及它的涵意, 關於 "從我們的嘴巴裡說出來的話" 獻給我的朋友 Vicky Lai 與 Sharon Chen. 謝謝你們對我的包涵.

http://www.youtube.com/watch?v=HBN-EAFQTPE

*Benjamin Zander (班傑明．山德爾)，波士頓愛樂管弦樂團 (Boston Philharmonic), 青年樂團 (The Youth Philharmonic) 指揮家, 新英格蘭音樂學院 (The New England Conservatory of Music) 榮譽教授

+完整文本:
"Music and Passion"

Probably a lot of you know the story of the two salesmen who went down to Africa in the 1900s. They were sent down to find if there was any opportunity for selling shoes, and they wrote telegrams back to Manchester. And one of them wrote, "Situation hopeless. Stop. They don't wear shoes." And the other one wrote, "Glorious opportunity. They don't have any shoes yet." (Laughter)

Now, there's a similar situation in the classical music world, because there are some people who think that classical music is dying. And there are some of us who think you ain't seen nothing yet. And rather than go into statistics and trends, and tell you about all the orchestras that are closing, and the record companies that are folding, I thought we should do an experiment tonight -- an experiment. Actually, it's not really an experiment, because I know the outcome.

But it's like an experiment. Now, before we -- (Laughter) -- before we start, I need to do two things. One is I want to remind you of what a seven-year-old child sounds like when he plays the piano. Maybe you have this child at home. He sounds something like this. (Piano) I see some of you recognize this child. Now, if he practices for a year and takes lessons, he's now eight and he sounds like this. (Piano) Then he practices for another year and takes lessons -- now he's nine. (Piano) Then he practices for another and takes lessons -- now he's 10. (Piano) At that point, they usually give up. (Laughter) (Applause) Now, if you'd waited, if you'd waited for one more year, you would have heard this. (Piano)

Now, what happened was not maybe what you thought, which is, he suddenly became passionate, engaged, involved, got a new teacher, he hit puberty, or whatever it is. What actually happened was the impulses were reduced. You see, the first time, he was playing with an impulse on every note. (Piano) And the second, with an impulse every other note. (Piano) You can see it by looking at my head. (Laughter) The nine-year-old put an impulse on every four notes. (Piano) And the 10-year-old, on every eight notes. (Piano) And the 11-year-old, one impulse on the whole phrase. (Piano)

I know -- I don't know how we got into this position. (Laughter) I didn't say, "I'm going to move my shoulder over, move my body." No, the music pushed me over, which is why I call it one-buttock playing. (Piano) It can be the other buttock. (Piano) You know, a gentleman was once watching a presentation I was doing, when I was working with a young pianist. He was the president of a corporation in Ohio. And I was working with this young pianist and I said, "The trouble with you is you're a two-buttock player. You should be a one-buttock player." And I moved his body like that, while he was playing. And suddenly, the music took off. It took flight. There was a gasp in the audience when they heard the difference. And then I got a letter from this gentleman. He said, "I was so moved. I went back and I transformed my entire company into a one-buttock company." (Laughter)

Now, the other thing I wanted to do is to tell you about you. There are 1,600 people, I believe. My estimation is that probably 45 of you are absolutely passionate about classical music. You adore classical music. Your FM is always on that classical dial. And you have CDs in your car, and you go to the symphony. And your children are playing instruments. You can't imagine your life without classical music. That's the first group; it's quite a small group. Then there's another group, bigger group. These are the people who don't mind classical music. (Laughter) You know, you've come home from a long day, and you take a glass of wine, and you put your feet up. A little Vivaldi in the background doesn't do any harm. (Laughter) That's the second group. Now comes the third group. These are the people who never listen to classical music. It's just simply not part of your life. You might hear it like second-hand smoke at the airport, but -- (Laughter) -- and maybe a little bit of a march from "Aida" when you come into the hall. But otherwise, you never hear it. That's probably the largest group of all.

And then there's a very small group. These are the people who think they're tone-deaf. Amazing number of people think they're tone-deaf. Actually, I hear a lot, "My husband is tone-deaf." (Laughter) Actually, you cannot be tone-deaf. Nobody is tone-deaf. If you were tone-deaf, you couldn't change the gears on your car, in a stick shift car. You couldn't tell the difference between somebody from Texas and somebody from Rome. And the telephone. The telephone. If your mother calls on the miserable telephone, she calls and says, "Hello," you not only know who it is, you know what mood she's in. You have a fantastic ear. Everybody has a fantastic ear. So nobody is tone-deaf.

But I tell you what. It doesn't work for me to go on with this thing, with such a wide gulf between those who understand, love and [are] passionate about classical music, and those who have no relationship to it at all. The tone-deaf people, they're no longer here. But even between those three categories, it's too wide a gulf. So I'm not going to go on until every single person in this room, downstairs and in Aspen, and everybody else looking, will come to love and understand classical music. So that's what we're going to do.

Now, you notice that there is not the slightest doubt in my mind that this is going to work if you look at my face, right? It's one of the characteristics of a leader that he not doubt for one moment the capacity of the people he's leading to realize whatever he's dreaming. Imagine if Martin Luther King had said, "I have a dream. Of course, I'm not sure they'll be up to it." (Laughter)

All right. So I'm going to take a piece of Chopin. This is a beautiful prelude by Chopin. Some of you will know it. (Music) Do you know what I think probably happened in this room? When I started, you thought, "How beautiful that sounds." (Music) "I don't think we should go to the same place for our summer holidays next year." (Laughter) It's funny, isn't it? It's funny how those thoughts kind of waft into your head. And of course -- (Applause) -- and of course, if the piece is long and you've had a long day, you might actually drift off. Then your companion will dig you in the ribs and say, "Wake up! It's culture!" And then you feel even worse.

But has it ever occurred to you that the reason you feel sleepy in classical music is not because of you, but because of us? Did anybody think while I was playing, "Why is he using so many impulses?" If I'd done this with my head you certainly would have thought it. (Music) And for the rest of your life, every time you hear classical music, you'll always be able to know if you hear those impulses.

So let's see what's really going on here. We have a B. This is a B. The next note is a C. And the job of the C is to make the B sad. And it does, doesn't it? (Laughter) Composers know that. If they want sad music, they just play those two notes. (Music) But basically, it's just a B, with four sads. (Laughter) Now, it goes down to A. Now to G. And then to F. So we have B, A, G, F. And if we have B, A, G, F, what do we expect next? Oh, that might have been a fluke. Let's try it again. Ooh, the TED choir. (Laughter) And you notice nobody is tone-deaf, right? Nobody is. You know, every village in Bangladesh and every hamlet in China -- everybody knows: da, da, da, da -- da. Everybody knows, who's expecting that E.

Now, Chopin didn't want to reach the E there, because what will have happened? It will be over, like Hamlet. Do you remember Hamlet? Act one, scene three, he finds out that his uncle killed his father. You remember, he keeps on going up to his uncle and almost killing him. And then he backs away, and he goes up to him again and almost kills him. And the critics, all of whom are sitting in the back row there, they have to have an opinion, so they say, "Hamlet is a procrastinator." (Laughter) Or they say, "Hamlet has an Oedipus complex." No, otherwise the play would be over, stupid. That's why Shakespeare puts all that stuff in Hamlet -- you know, Ophelia going mad and the play within the play, and Yorick's skull, and the gravediggers. That's in order to delay -- until act five, he can kill him.

It's the same with the Chopin. He's just about to reach the E, and he says, "Oops, better go back up and do it again." So he does it again. Now, he gets excited. (Piano) That's excitement, you don't have to worry about it. Now, he gets to F-sharp, and finally he goes down to E, but it's the wrong chord -- because the chord he's looking for is this one, (Piano) and instead he does ... (Piano) Now, we call that a deceptive cadence, because it deceives us. I always tell my students, "If you have a deceptive cadence, be sure to raise your eyebrows. Then everybody will know." (Laughter) (Applause) Right. So, he gets to E, but it's the wrong chord. Now, he tries E again. That chord doesn't work. Now, he tries the E again. That chord doesn't work. Now, he tries E again, and that doesn't work. And then finally ... (Piano) There was a gentleman in the front row who went, "Mmm." It's the same gesture he makes when he comes home after a long day, turns off the key in his car and says, "Aah, I'm home." Because we all know where home is.

So this is a piece which goes from away to home. And I'm going to play it all the way through and you're going to follow. B, C, B, C, B, C, B -- down to A, down to G, down to F. Almost goes to E, but otherwise the play would be over. He goes back up to B. He gets very excited. Goes to F-sharp. Goes to E. It's the wrong chord. It's the wrong chord. It's the wrong chord. And finally goes to E, and it's home. And what you're going to see is one-buttock playing. (Laughter) Because for me, to join the B to the E, I have to stop thinking about every single note along the way, and start thinking about the long, long line from B to E.

You know, we were just in South Africa, and you can't go to South Africa without thinking of Mandela in jail for 27 years. What was he thinking about? Lunch? No, he was thinking about the vision for South Africa and for human beings. That's what kept -- this is about vision. This is about the long line. Like the bird who flies over the field and doesn't care about the fences underneath, all right? So now, you're going to follow the line all the way from B to E. And I've one last request before I play this piece all the way through. Would you think of somebody who you adore, who's no longer there? A beloved grandmother, a lover -- somebody in your life who you love with all your heart, but that person is no longer with you. Bring that person into your mind, and at the same time follow the line all the way from B to E, and you'll hear everything that Chopin had to say. (Music) (Applause)

Now, you may be wondering, you may be wondering why I'm clapping. Well, I did this at a school in Boston with about 70 seventh graders, 12-year-olds. And I did exactly what I did with you, and I told them and explained them and the whole thing. And at the end, they went crazy, clapping. They were clapping. I was clapping. They were clapping. Finally, I said, "Why am I clapping?" And one of the little kids said, "Because we were listening." (Laughter) Think of it. 1,600 people, busy people, involved in all sorts of different things, listening, understanding and being moved by a piece by Chopin. Now that is something. Now, am I sure that every single person followed that, understood it, was moved by it? Of course, I can't be sure. But I tell you what happened to me.

I was in Ireland during the Troubles, 10 years ago, and I was working with some Catholic and Protestant kids on conflict resolution. And I did this with them -- a risky thing to do, because they were street kids. And one of them came to me the next morning and he said, "You know, I've never listened to classical music in my life, but when you played that shopping piece ... " (Laughter) He said, "My brother was shot last year and I didn't cry for him. But last night, when you played that piece, he was the one I was thinking about. And I felt the tears streaming down my face. And you know, it felt really good to cry for my brother." So I made up my mind at that moment that classical music is for everybody. Everybody.

Now, how would you walk -- because you know, my profession, the music profession doesn't see it that way. They say three percent of the population likes classical music. If only we could move it to four percent, our problems would be over. I say, "How would you walk? How would you talk? How would you be? If you thought, three percent of the population likes classical music, if only we could move it to four percent. How would you walk? How would you talk? How would you be? If you thought, everybody loves classical music -- they just haven't found out about it yet." (Laughter) See, these are totally different worlds.

Now, I had an amazing experience. I was 45 years old, I'd been conducting for 20 years, and I suddenly had a realization. The conductor of an orchestra doesn't make a sound. My picture appears on the front of the CD -- (Laughter) -- but the conductor doesn't make a sound. He depends, for his power, on his ability to make other people powerful. And that changed everything for me. It was totally life changing. People in my orchestra came up to me and said, "Ben, what happened?" That's what happened. I realized my job was to awaken possibility in other people. And of course, I wanted to know whether I was doing that. And you know how you find out? You look at their eyes. If their eyes are shining, you know you're doing it. You could light up a village with this guy's eyes. (Laughter) Right. So if the eyes are shining, you know you're doing it. If the eyes are not shining, you get to ask a question. And this is the question: who am I being, that my players' eyes are not shining? We can do that with our children, too. Who am I being, that my children's eyes are not shining? That's a totally different world.

Now, we're all about to end this magical, on-the-mountain week, and we're going back into the world. And I say, it's appropriate for us to ask the question, who are we being as we go back out into the world? And you know, I have a definition of success. For me, it's very simple. It's not about wealth and fame and power. It's about how many shining eyes I have around me.

So now, I have one last thought, which is that it really makes a difference what we say -- the words that come out of our mouth. I learned this from a woman who survived Auschwitz, one of the rare survivors. She went to Auschwitz when she was 15 years old, and her brother was eight, and the parents were lost. And she told me this, she said, "We were in the train going to Auschwitz, and I looked down and saw my brother's shoes were missing. And I said, 'Why are you so stupid, can't you keep your things together for goodness' sake?' " The way an elder sister might speak to a younger brother. Unfortunately, it was the last thing she ever said to him, because she never saw him again. He did not survive. And so when she came out of Auschwitz, she made a vow. She told me this. She said, "I walked out of Auschwitz into life and I made a vow. And the vow was, I will never say anything that couldn't stand as the last thing I ever say." Now, can we do that? No. And we'll make ourselves wrong and others wrong. But it is a possibility to live into. Thank you. (Applause) Shining eyes, shining eyes. Thank you, thank you. (Music)

http://dotsub.com/view/a5aa3af4-6c93-43f8-9fca-599fc3a947a9/viewTranscript/eng

Benjamin Zander on music and passion(中文字幕)

www.youtube.com

The transformative power of classical music 
【TED演講】古典音樂的魅力

「沒有人是音痴，如果你是音痴，你就不會換檔開車，你也無法分辨誰是德州來的還是羅馬來的...如果你是音痴，當你媽打電話來跟你說“哈囉”時，你根本無法辨認媽媽當時的心情...你有一對神奇的耳朵，所以，沒有一個人是音痴。」

【TED】演講者－Benjamin Zander（波斯頓愛樂交響樂團指揮家、音樂教育者），來告訴大家古典音樂的魅力在哪裡，每一個人都具有古典音樂的欣賞能力，Benjamin Zander使用蕭邦的序曲（Frédéric Chopin - Prelude in E-Minor op.28 no. 4）為例，以有趣的方式讓大家輕鬆的了解曲式和聲！


演講演片雖然長20分鐘，但是非常的具有意義，粉絲們看了一定會受益良多，古典音樂為生活增添許多色彩，讓鮮少接觸古典音樂的粉絲，對它改觀並且愛上！

「音樂是為每個人的The classical music is FOR everyone」－Benjamin Zander

影片來源：http://bit.ly/1Bfpety（有中文字幕）
TED網站：http://bit.ly/1C7rwAw

A級人生：突破限制、創造人生的12堂課 2005

羅 莎姆‧史東‧山德爾、班傑明‧山德爾◎著 翻開這本書，您會驚訝地發現，一位音樂家、一位心理治療師，這本書一共有12堂課，讓我們可以打開自我的可能性（潛能），讓我們在人際關係、領導力、為人 處事、面對困境、衝突時能更圓融、有效跨越人生的障礙。書中有許多幽默、令人會心一笑的故事，都出自兩位作者的親身體驗。


這本書所談的，超越一般商業書的範圍，談更多人與人的關係、人與環境、人與自我的關係。談的是「人的修練」。可以帶給我們多麼豐富的人生智慧。