復旦大學文史研究院院長楊志剛:「大约1985年,美国魏斐德(Frederic Wakeman)教授到访复旦,在教室和研究生宿舍,就正趋红火的“文化”、“文化史”话题,与学生座谈。针对当时流行的中国传统文化阻碍现代化的观点和心态,这位汉学家提醒,近代英国,在1850年前后,实现了从好勇斗狠到彬彬有礼和一身绅士风度的国民性转变。他突显了“文化”在创造性方面可能的能动作用,并指出有种类似“switch”的存在,通过其调节可以引发历史发展的转向。如何找寻这“switch”,又如何认识、把握其调节。」
結語,引用了章學誠:
「文辭,猶品物也;志識,其工師也。」
「文辭,猶金石也;志識,其爐錘也。」
史景遷就曾這樣評價魏斐德:“在我看來,他是一個抒情詩人和秘密活動家的迷人混合體。他寫的最好的書在每個角度都含義深刻,無論在長度上還是在精神上,充滿著意外,承轉著情感……”這使我想起了北島在《青燈》中講述的一個故事:魏斐德的開門弟子、哈佛的榮譽畢業生周錫瑞回憶:從哈佛畢業以後,他投奔到列文森教授門下。列文森逝世後,大不了幾歲的魏斐德給他們上課。當看到年輕的魏斐德開列有法國史學家馬克?布羅克《法國農村史》在內的必讀書目時,這群學生不幹了,其理由是,我們學的是中國史,與西方史何干?只見魏斐德不慌不忙,講了一個故事。在德國占領期間,一個參加抵抗運動的戰士被蓋世太保抓住,和別人一起拉出去槍斃。他對身邊16歲的男孩(後倖存下來)最後說:“別哭,我的孩子。”這時機關槍響了……他就是馬克·布羅克。說完後,魏斐德平靜地離開了教室。
Wikipedia 的Frederic Wakeman ,沒日文等等,甚怪
中文著作不列出版社。年分,很可惡
- Spymaster: Dai Li and the Chinese Secret Service(正體字版《特工教父:戴笠和他的祕勤組織》;簡體字版《間諜王:戴笠與中國特工》)
- 《洪業 : 清朝開國史》(The Great Enterprise: The Manchu Reconstruction of Imperial Order in the 17th Century)
- 《大門口的陌生人 : 1839-1861年間華南的社會動亂》(Strangers at the Gate: Social Disorder in South China, 1839-1861)
- The Fall of Imperial China(正體字版《大清帝國的衰亡》;簡體字版《中華帝國的衰亡》)
- 《講述中國歷史》(Telling Chinese History : A Selection of Essays)
- 《歷史與意志 : 毛澤東思想的哲學透視》(History and Will: Philosophical Perspectives of Mao Tse-Tung's Thought)
- 上海三部曲
- 《上海警察》(Policing Shanghai, 1927-1937)
- 《上海歹士 : 戰時恐怖活動與城市犯罪1937-1941》(Shanghai Badlands, 1937-1942)
- 《紅星照耀上海城》(The Red Star Over Shanghai, 1942-1952)
- 《中華人民共和國的明清史研究》
- 《中國現代化問題 : 一個多方位的歷史探索》
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In 1939 France declared war on Germany after its invasion and occupation of Poland. As France mobilized its troops, Marc Bloch left his position at the Sorbonne and took up his reserve status as a captain in the French Army at the age of 52. He was encouraged at the time by colleagues both in France and abroad to leave the country. He said it was his personal obligation to stand for the moral imperative.
His memoir of the first days of World War II, Strange Defeat, written in 1940 but not published until 1946, blamed the sudden total military defeat on the French military establishment, along with her social and political culture, and helped after the war to neutralize the traumatic memory of France's failure, and to build a new French identity.[10]
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