2015年8月31日 星期一

Ten droll tales By Honoré de Balzac




https://archive.org/details/tendrolltalesmak00balziala

Ten droll tales ... : making up the first decade of the Droll Tales of Master Honoré de Balzac


Published [19--]
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Prologue.--The fair Imperia.--The venial sin.--The King's mistress.--The devil's heir.--The merrie diversions of King Louis the eleventh.--The high constable's wife.--The virgin of Thilhouse.--The brothers-in-arms.--The curé of Azay-le-Rideau.--The rebuke.--Epilogue


Publisher [London] : Abbey Library
Pages 300
Possible copyright status NOT_IN_COPYRIGHT
Language English
Call number srlf_ucla:LAGE-548385
Digitizing sponsor MSN
Book contributor University of California Libraries
Collection cdlamericana




Jean De Bosschere 線條簡潔、用色俐落,構圖大瞻、讓異色情調來表現 巴爾札克幽默歷史小品 TEN DROLL TALES,格外協調又更具現代感!(1926年初版限量3000本編號 2101)


Max Weber (Painter)《馬克斯·韋伯藝術隨筆》




Early in his career, Rothko was encouraged by the artist Max Weber (with whom he briefly studied at the Art Students League in New York in the mid-1920s) to work in a figurative style reminiscent of Cézanne. Rothko’s early work resembles nothing of the style for which he is renowned. ‪#‎Rothko‬ ‪#‎ArtAtoZ‬

Mark Rothko
WWW.NGA.GOV


Max Weber (April 18, 1881 - October 4, 1961) was a Jewish-American painter who worked in the style of cubism before migrating to Jewish themes towards the end of his life.
Contents

Biography

Born in a Polish city of Białystok, then part of Russian Empire, he immigrated to America with his parents at the age of 10. He studied art at the Pratt Institute in Brooklyn under Arthur Wesley Dow.
In 1905 he had saved enough money to travel to Paris and study, acquainting himself with the work of such modernist artists as Henri Rousseau, Matisse, Pablo Picasso and other members of the so-called School of Paris.
In 1909 he returned to New York and helped to introduce cubism to America. He is considered one of the most significant American cubists.
In 1930 the Museum of Modern Art held a retrospective of his work, the first solo exhibition at that museum of an American artist.

Gallery

Further reading

  • Harnsberger, R.S. (2002). Four artists of the Stieglitz Circle: a sourcebook on Arthur Dove, Marsden Hartley, John Marin, and Max Weber [Art Reference Collection, no. 26]. Westport, CT: Greenwood Press.
  • North, P. (1991). Max Weber: the cubist decade, 1910-1920. Atlanta: High Museum of Art.
  • North, P. (1996). Max Weber: Max Weber's women. New York: Forum Gallery.
  • Rubenstein, D.R. (1980). Max Weber: a catalogue raisonné of his graphic work. Chicago: University of Chicago Press.
  • Werner, A. (1975). Max Weber. New York: Abrams.

External links





馬克斯·韋伯藝術隨筆
這本書可能是根據Max Weber 在1916年出版的文集翻譯的。

内容简介 · · · · · ·

  本书集20世纪初韦伯与立体主义画派交往时所创作的散文、诗歌、绘画等作品于一体,以飨读者。

作者简介 · · · · · ·

马克斯·韦伯,俄裔美国画家,首批用抽象风格作画的美国人之一。作品深受埃尔· 格列柯、马蒂斯、塞尚、亨利·卢梭和毕加索等画家及其作品的影响。早期的作品如《中餐馆》和《匆忙的时间,纽约》,结合了立体主义和未来主义元素;后期的 作品《现在向何处去》,是表现主义风格的绘画作品。

作者: 马克斯·韦伯
译者: 秦健
出版社: 金城出版社
出版年: 2011


The title of Max Weber's "Interior of the Fourth Dimension" (1913) refers to the concept of a fourth dimension envisioned by Albert Einstein's Special Theory of Relativity, which had been published in 1905. Weber wrote on its potential role in visual art for Alfred Stieglitz's periodical "Camera Work," expounding upon the fourth dimension as infinity and exploring its spiritual resonances.
Max Weber, "Interior of the Fourth Dimension," 1913, oil on canvas  http://1.usa.gov/1GALilf

2015年8月30日 星期日

Jean-Piere Vernant《希臘思想的起源》《神話與政治之間》《眾神飛楊:希臘諸神的起源》


著名的古希臘史家Jean-Pierre Vernant (1914-2007)




大師為你說的希臘神話:永遠的宇宙諸神人(長銷十六年典藏版)
L’univers les Dieux les Hommes
作者: 凡爾農
原文作者:Jean-Pierre Vernant
譯者:馬向民
內容簡介
  有誰能比希臘神話大師凡爾農教授,更能帶領你展開一場精彩生動的神話之旅?!
  以老少咸宜的說故事口吻描繪的神人世界,使過去一篇篇各自獨立、人物關係錯亂的故事,如今都成了帶有連貫性、脈絡清晰的動人史詩!
  新版附贈諸神、人物關係圖,將是您必備的、最深入淺出的希臘神話入門書!
  你知道嗎?現今許多的暢銷小說,像是波西傑克森、鋼鐵人德魯伊,都是取材自希臘神話。而且如果不瞭解這些希臘神話的意涵,根本無法讀懂今日的西方藝術、歷史文化。或許你覺得大家都看過這些希臘神話故事了,何必再讀?可是一旦翻開本書,你將發現它完全不同以往你看過的任何一本!
  法蘭西學院榮譽教授凡爾農花了大半輩子研究希臘神話,是這個領域真正的名家。這次他以流暢生動的筆法,為讀者講述希臘神話故事。結合他深厚的學養與說書人栩栩如生的敘述,將過去一篇篇獨立存在、關係混亂的神話故事一一串起,裡頭看似複雜的神人關係,不但變得條理分明、前後連貫,而且彷彿活了起來。
  我們可以清楚看到希臘人眼中的世界如何誕生,諸神又是從何而來,世界為何是現在的樣貌。凡爾農教授不只讓這些故事變得更為活潑有趣,更道出希臘神話真正的價值,清楚展現西方文化的原始宇宙觀、觀看世界的方式,以及重新詮釋神話背後潛藏的含意,賦予我們連結希臘神話與今日文明的想像能力。
  透過本書,讀者仿佛正在聽古代希臘人講述自己的故事,那古老的聲音,將在現代人的腦海中不斷迴響。由於凡爾農把希臘神話故事說得如此精采動人,本書長居法國暢銷排行榜,翻開它,你將一頁一頁不斷讀下去。



昨天翻一本譯字法文的《希臘思想的起源》 (Jean Pierre Vernant, 北京: 三聯, 1996, p.115)
書末有"幾何平等"的關鍵詞
懷疑譯者忘記以前學幾何學的用語:
lacuna, ignoramus, trooper, equivalence , congruen...


(古希臘) 凡人們從屬於神:沒有神的同意,下界的任何事都成不了。於是,必須時時刻刻還清神的債務,不出差錯地向他保險履行義務。但是義務 (service)並不是奴役 (servitude) 。」-Jean-Piere Vernant 讓‧皮埃爾‧韋爾南 《神話與政治之間》(Entre mythe et Politique ) 余中先譯,北京:三聯,2001,頁194
《希臘思想的起源》

  • [法]讓-皮埃爾‧韋爾南 著譯者:秦海鷹 譯出版社:生活‧讀書‧新知三聯書店出版日期:1996年

與現代理想相異的希臘理性思想,並非源于假設的“希臘奇跡”,而源于邁錫尼文化的消亡與遠古文化復興之間的一系列變化。希臘理性是城邦誕生的產物,這就意味著對于古代宇宙起源論的拋棄︰世界從此依循抽象的原則活動。
讓--皮埃爾‧韋爾南︰法國著名哲學史家,古希臘研究專家。


《古希臘的神話與宗教》


在 這本論集中中,作者引導讀者遨游于神話與政治之間。他描繪了一個積極介入社會的學者的心路歷程,我們可以反這本書看成一部思想傳記——看出非現實的神話與 非常現實的政治是如何在一個法國知識分子身上聯結在一起的。正是宗教倫理與政治與政治理性之間不可分割的聯系,促使作者不斷地思索抵抗運動,共產主義反猶 太主義,法西斯主義等等這些20世紀人類社會所遇到的重大問題。

這本書集涉及多個主題︰古希臘以及當今社會的信仰與理性,作為科學對象的宗教;悲劇的現實性;古代人心中的不朽觀;希臘諸神的生命;神學;當然,還有對革命理論與現實的再認識和反思。


讓-皮埃爾‧韋爾南(Jean-Pinrre Vemant)作者在30年代就是法國巴黎拉丁區中有名的反法西斯主義的斗士。40年代又是抵抗主義積極的戰士。同時他還是學者;法蘭西學院的名譽教授, 希臘學家和神話學家。 在他多產的學術成果中,《希臘思想的起源》、《古希臘的神話與宗教》等已有了中文譯本。

詳細資料

  • 叢書系列:學術前沿‧第三輯
  • 規格:平裝 / 633頁 / 15cmX21cm / 普級 / 單色 / 2版
  • 出版地:大陸

目錄

序 言
一段旅程的片斷
編織友誼
抹卻距離
愛的問題︰擺脫自身
友誼的織體
一段路程的各階段
研究希臘宗教的積極性
沒有一把理解人類的“萬能鑰匙”
宗教的地位
一個新的研究領域︰形象的象征角色
希臘學研究的現狀
全國科學研究中心的研究者
希臘,昨天與今天
從另一個到同一個
殺人的眼楮
自身的制造
眼中的死亡
希臘人的教訓
神聖的幻覺,世俗的幻覺
戈耳工-包珀,或者戈耳工與性
頭發的作用
令人擔憂的奇特性
作為總結︰死亡的女性化
宗教,科學的對象?
方法的問題
歷史心理學與歷史人類學
閱讀邁耶松
為了一種歷史心理學
《心理學功能與作品》
未完成與構建
伊尼亞斯‧邁耶松的“目光”
歷史心理學和社會經驗
儒勒‧勒納爾作品中個人的面貌
關于《古代希臘的人類學》
路易‧熱爾奈的《沒有奇跡的希臘人》
希臘人
在世俗與神聖之間
一種存在于世的特殊風格
理性,希臘理念
昨天和今天的理性
希臘的信仰與理念形式
信仰的方式
宗教在社會政治結構中的介入
理性思想的降臨
理性與政治
神話學
……
形象、想像、想像力
論悲劇
必死性,不朽性
政治︰之內之外
巴黎-莫斯科
資料來源

當人們快跑到終點時,正是在那時,問題提了出來——或者更確切地說,常常是別人向你提出了問題︰你到底沿了一條什麼路。回答是困難的。人們在出發時就確定 了方向。至于我,我在青年時代倒很樂意像人們在旗幟上貼上一條口號那樣宣告︰一份偉大的愛,一項偉大的使命,一個偉大的希望。漂亮的綱領!我在今天看到, 除了我不願意再說什麼的愛之外,那里有的,決不是一段人們可以在事後重構其線路的惟一路程,那里有許多條路,我更多地是被推著走上它們,而不是選擇了它 們,那里有跋涉,有曲折。隨著時間的推移,人們前進,或者還不如說︰人們被移了位,不是整個兒地,而是一小塊一小塊地,以至于到最後發現自己處在原以為不 會去的地方,在他自己家之外,在他的保持原樣的方式之外。

如果我常常握著筆,那它肯定不是一支自傳之筆。若要想讓它敘述我生命的進程,它恐怕會從我的手指頭間掉下︰如何理清其中的亂麻,而且又有何用?再者說,人 走過生命的行程,是不是就如經過一個地區,從頭到尾勘察一下它的地形,或者是不是就如翻閱一本書,一目十行,整頁整頁地跳過,以便匆匆有個初步印象,而不 求甚解?

然而,當我和莫里斯‧奧朗德爾(Matlriceolender)討論這本書的題目時,出現在我們頭腦中的恰恰是“行程”這一詞,我倆的友誼使我最終決 定,要跟他討論一下這部文集,並委托他,當然還有愛萊娜‧蒙薩克雷(}tfil~ne Monsacre),來處理它的結構。一部文集,多少有些像一種生命︰部件與零碎的一種拼湊。然而,即便在一個流浪漢背負著的包袱中,人們也相信包著一切 憑運氣落到他手中的東西,而支配著這一大堆東西的秩序,既出于選擇,同樣出于偶遇,對善于觀察的人來說,它還是一個人的特殊側面和特殊旅程的見證。對構成 這一冊書的文字聚合體,似乎可以說,通過取名為《在神話與政治之問》,人們恰恰為所保留的文本的整個空間設置了標志,盡管里面的文本是如此多樣化。當我回 頭看時,我對自己說,確實,人們可以把我的生命進程和我的科學生涯表現為一條在兩極之間拉緊的、有時斷了的軌跡,兩個敵對的極點,但卻又彼此親密無間,神 話與政治既對立又結合的兩極。我那一輩人中,有的認識我這個拉丁區中年輕的反法西斯主義者,西南地區的抵抗戰士,戰後反殖民主義的積極分子,其中有一些人 還曾與我同行,對他們來說,沒有必要勾畫出一幅素描。《在神話與政治之間》,他們看得出這從某種意義上可能說明什麼。但對其他人,那些更年輕的人,我和我 的伙伴們(他們已經所剩無幾了)所經歷的時代——納粹主義、共產主義、被佔領、解放,在某種程度上恐怕顯得跟聖女貞德的時代,或者查理大帝的時代同樣奇 特,同樣難解。或許,正是寄于某種希望,希望他們了解我們的思想和我們的行動當時得以產生的環境氛圍,了解這一氣候是如何一方面限制了我們的思想和行動, 有時甚至令它們變得盲目,另一方面又賦予它們各自以意義和力量,正是因此,我選擇了匯集這些多樣化的文學,就像把一塊塊拼圖聚攏到一起。



***
《眾神飛楊:希臘諸神的起源》 L'univers, Les Dieux, Les Hommes 作者:[法]讓-皮埃爾‧韋爾南譯者:曹勝超出版社:中信出版社出版日期:2003年


讓 —皮埃爾‧韋爾南是當今世界最卓越的希臘神話學者之一。希臘神話的意義在于它不僅是一些故事,更是包含有思想、語言形式、關于宇宙的想像、道德訓誡等的 寶庫。在本書中,韋爾南以古希臘文化為背景和依托,向讀者講述宇宙、神和人的故事,講述諸神的傳說和英雄的史詩。韋.爾南將畢生的研究成果和自己對希臘神 話的理解、對希臘文化的理解乃至對人類和世界的理解都融入他的講述中,給這些神話故事深深地打上了獨特的“韋爾南”烙印。

這不是枯燥乏味的理論研究著作,不是單調沉悶的知識考古,也不是令人難以卒讀的譜系考證;不是單純的傳說故事,或者走馬觀花式的歷史獵奇,它是兩者的完美綜合,是宇宙的歷史、神的歷史、人的歷史,它是靈魂深處關于祖先的最原始的記憶。

詳細資料

  • 規格:平裝 / 215頁 / 14cmX21cm / 普級 / 單色 / 初版
  • 出版地:大陸

目錄

前言
一、宇宙的起源
在大地的最深處︰卡奧斯
烏拉諾斯被閹割
大地,空間,天空
不和與愛

二、諸神的戰爭,宙斯的王國
在父親的大肚子里
使人不死的食物
宙斯的統治
權力的陰謀
萬物之母與卡奧斯
梯豐,或最高權力的危機
戰勝“巨人們”
短暫之果
在奧林匹亞的法庭上
無可救藥的惡
黃金時代︰人類和諸神

三、人類的世界
狡猾的普羅米修斯
一局象棋
凡人之火
潘多拉或創造女人
流逝的時間

四、特洛伊戰爭
佩琉斯的婚姻
三位女神爭奪一個金隻果
海倫,有罪還是無辜?
生命早亡 光榮不朽

五、奧德修斯或人類的奇遇
遺忘之鄉
奧德修斯︰“沒人”在庫克洛佩斯面前
與客耳刻的美麗愛情
無名鬼 無臉鬼
卡呂普索的島嶼
別有洞天
怎能忘懷
隱身的裸體者
令人生疑的乞丐
傷疤︰奧德修斯的簽名
拉開國王的弓
兩人的秘密
失而復得的現實

六、狄奧尼索斯在忒拜城
漂泊的歐羅馬
異鄉客和本地人
以大腿為子宮
流浪的教士和瘋狂的女人
“我看到他正看著我”
拒絕他者,就是喪失自我

七、時運不濟的俄狄浦斯
倒霉的世代
“冒牌兒子”
不祥的勇敢
“你過去的父母不是你的父母”
人︰三歸一
俄狄浦斯的孩子們
一個正式的外國佬

八、佩耳修斯‧死亡‧形象
側重耳修斯的出生
追殺戈耳貢
美麗的安德羅默達

重要名稱表

2015年8月29日 星期六

Kullervo: Tolkien's fascination with Finland

Kullervo: Tolkien's fascination with Finland

  • 27 August 2015
  •  
  • From the sectionMagazine
JRR Tolkien
On Thursday JRR Tolkien's early story The Story of Kullervo will be published for the first time. The dark tale reveals that Tolkien's Middle Earth was inspired not only by England and Wales… but also by Finland.
"Hapless Kullervo," Tolkien called him. Kullervo, an orphan boy raised into slavery, a tragic hero who commits incest in the dark forests of Karelia and hurls himself on his own blade.
JRR Tolkien first discovered the tale as a schoolboy in Birmingham. His father had died when he was a young child, and his mother passed away when he was 12, so he had been an orphan himself for some years when he came across the Finnish epic Kalevala - and within it the tale of Kullervo - during his final year at school.
It had a huge impact.
"He was very much taken by the whole mythology," says Prof Verlyn Flieger of the University of Maryland, who edited the manuscript of The Story of Kullervo for publication. "In his letters he enthuses about this 'very great story'."
Arriving at Oxford University a year later, Tolkien began to write his own version of the Finnish myth. But after a few months he suddenly gave up.
"The manuscript runs to about 26 pages, but it breaks off in the middle of a sentence," Flieger explains. "He had just got to the climax, the most dramatic scene, and it stops. There is no full stop, no continuation of any kind. Only the words 'so terrible his haste'..."
Media captionVerlyn Flieger talks about working with JRR Tolkien's words
The unfinished manuscript sat in Oxford's Bodleian Library for nearly a century, largely unnoticed. Meanwhile, Tolkien went on to invent his own Elvish languages, and to write his books about hobbits, elves and dragons, in time off from his day job as a professor of Anglo Saxon and Middle English.
Kullervo's tale is just one of 50 songs in the Kalevala, an epic of 22,795 verses telling the story of the Sampo, a magical object that bestows power on whoever possesses it. Tolkien used numerous plot elements from the Kalevala in his own novels - a powerful magical object, incest, battles between brothers, and orphan heroes setting out on quests.
"Kullervo is the origin story for Shakespeare's Hamlet - a young man whose uncle kills his father and on whom he wreaks a terrible vengeance," says Verlyn Flieger. "It is likely that Tolkien knew that Shakespeare had used this tale."
In The Silmarillion (begun in 1914, but only published after his death), Tolkien turns Kullervo into Turin Turambar, the warrior hero.
"I think he liked the Kalevala because it has both high and low elements," suggests Tolkien-biographer Prof John Garth from the University of Nevada. "There are clodhopping idiots, treated in a really down-to-earth, anti-heroic way. In Tolkien's own fiction, he creates totally different moods. The hobbits are very relatable, very friendly; and then the elves are much more remote."
The mists, forests and waterfalls of the Kalevala would have stood in stark contrast to the red-brick Edgbaston Waterworks that towered over Tolkien's Birmingham home.
Finnish forest
"The landscape of Finnish mythology is very mysterious," says Verlyn Flieger. "It is a distant, northern country. Some of the stories even take place within the Arctic Circle. The country lends itself to a sense of magic and mystery."
Tolkien filled his own version of The Story of Kullervo with long descriptions of this foreign land.
Since the 12th Century Finland had been ruled by Sweden, and then Russia, only gaining independence in 1917. During the last century of foreign rule, the Kalevala - assembled by a physician who walked around Karelia writing down the poems people sang to him - became a powerful symbol of Finnish identity.
Kalevala
"Tolkien liked the fact that this was a national myth," says John Garth. "He wished that England had something similar. Britain had Celtic stories but England had not preserved its mythology. With The Lord of the Rings he wanted to give England its own Kalevala."
Garth suggests that Finnish nationalism struck a chord with Tolkien. "You see that same ethos in the way he presents the Shire and the Hobbits: their freedom from interference, their 'funny little ways' that should be respected."
The Hobbit
Having fallen for the Finnish epic, the language-loving Tolkien was not content to read it only in translation. Once at Oxford, he found a book of Finnish grammar - and borrowed it "several times" laughs Verlyn Flieger. "Finnish is extremely difficult. I know this first-hand. I have tried to learn it myself!"
Although he never visited Finland and does not seem to have met any native speakers, Tolkien became captivated by the language. In 1955 he told the poet WH Auden that discovering Finnish had been like "entering a complete wine-cellar filled with bottles of an amazing wine of a kind and flavour never tasted before". But he had to admit that he had "never learned Finnish well enough to do more than plod through a bit of the original like a schoolboy…"
Dr Riitta-Liisa Valijarvi, senior teaching fellow in Finnish Language at University College London, says it doesn't deserve its reputation as one of the world's hardest languages.
"There are many grammatical cases. It is not an Indo-European language and so the vocabulary is not familiar. But the sound system is very easy, very basic, and that is what inspired [Tolkien's] Elvish," she says.
Valijarvi notices a particular trend among the students who choose to learn Finnish. "They tend to like heavy metal music and fantasy fiction," she laughs. Some of her students have even taught themselves Tolkien's fictional Elvish tongues. "I have not done this myself, but I do recognise the look and feel of the language," she says.
Tolkien was intrigued by the liked the long vowel sounds of Finnish and the umlaut accents. Fictional Elvish phrases such as "Mindon Eldalieva" ("Lofty Tower of the Elvish-people") and "Oron Oiolosse" ("Ever Snow-white Peak") use the sound and style of the language.
Tolkien's invented Elvish language of Quenya "is incredibly complex", explains John Garth. When writing The Hobbit in the 1930s and The Lord of the Rings (published in 1949), Tolkien included irregular verbs and archaic phrases, showing how his invented language had changed over time - the Quenya used by Aragorn differs from the older Quenya used by his ancient ancestors, in which the influence of Finnish is much stronger.
Middle Earth
For Tolkien the invented language came first, and Middle Earth second, according to Flieger. The much-loved adventures of Bilbo and Frodo were a chance for Tolkien the philologist to bring his new language to life.
"Tolkien realised with The Story of Kullervo that language, culture and mythology are inextricably linked," Flieger says. "He had invented a language - and so he invented a mythology."
But Finnish sources were not the only ones Tolkien used. Others include the romantic medieval images of Pre-Raphaelite paintings, the scenery of the Welsh countryside, the adventures of King Arthur, and his own traumatic experiences in the Battle of the Somme between July and November 1916.
Verlyn Flieger thinks the most Finnish aspect of Tolkien's writing is the mood.
"There is a strain of deep tragedy and pessimism that runs through Tolkien's work, even The Hobbit and certainly Lord of the Rings. The Story of Kullervo is without a doubt the darkest story he ever wrote. It is our first experience of that darkness."
The BBC Symphony Orchestra and Chorus perform Sibelius' Kullervo at the BBC Proms on Saturday 29 August.

The real places of Middle Earth

Tolkien wrote that The Shire - home to the "little people" better known as hobbits - was "more or less a Warwickshire village of about the period of [Queen Victoria's] Diamond Jubilee" in 1897.
Sarehole Mill

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