2021年4月30日 星期五

黎烈文譯作 Anatole France 《企鵝島》、桑.喬治《鬼池 》 / 《屋頂間的哲學家 》《冰島魚夫 》

 


 我1967年買過《屋頂間的哲學家》 《冰島魚夫 》《鬼池 》  .....幾本黎烈文譯品
現在我知道19世紀巴黎的公寓的屋頂間是約基層7成高度的閣樓
 《屋頂間的哲學家》其「屋頂間」的意思，意指在法國巴黎市六﹑七層高的房屋的頂層。住在其間，不僅冬寒夏熱，上下樓也得辛苦地爬樓梯，故住在這裡的房客以窮人居多 ...
不過它的故事卻忘記了. 可悲........
索维斯特（Emile Souvestre）的《屋顶间的哲学家》（Un philosophe sousles toits），那踽踽独处阁楼一角的法国智者，如何以洞彻的眼神，在安贫中、在乐道里，默默 ...
Un Philosophe sous les toils, which received in 1851 a well-deserved academic prize

Émile Souvestre - Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Émile_Souvestre‎
Émile Souvestre (April 15, 1806 – July 5, 1854) was a French novelist who was a native of Morlaix, Finistère. He was the son of a civil engineer and was ...

屋頂間的哲學家

屋頂間的哲學家

 一個在巴黎「屋頂間」（一種貧民窟）的哲學家，從他高踞在上的屋頂間，俯視下界蠅營狗苟的眾生，生動地寫下了這部日記體裁的小說，由「屋頂間的年禮」、 「謝肉節」、「窗前隨感」、「互愛頌」、「補償」、「莫利斯叔叔」、「名勢論」、「厭與悔」、「米雪爾的家庭」、「祖國」、「爐邊漫意」、「歲杪」等十二 個分散的故事組成，每一個故事都像一段美麗動人的詩篇。書中充滿著愛和同情的人生哲學，處處表現出恬淡謙挹的人生觀。那種對窮人的無限關懷和對罪惡的深切 痛恨，充分透露出一個有良心的知識份子處身亂世不肯隨俗浮沉的磊落胸襟，以及「先天下之憂而憂，後天下之樂而樂」的博大精神。本書曾得過法國學術院獎，至 今還被法國各校採用為教材與課外讀物。
 ******
《鬼池 》 (La mare and diable),(法)桑.喬治(Sand,George, psend 1804-1876)/黎烈文/  大業書店印行, 1957

La Mare au diable (1846)
http://en.wikipedia.org/wiki/George_Sand
其實早在1846年，喬治·桑就已經開始對田園生活感興趣。這一年她發表了著名的田園小說《魔沼》，全書沒有複雜的情節和冗長的理論闡述，而是自始至終充滿詩意。這部作品奠定了作家晚期創作的基調。

台大過客：黎烈文先生等

近十年，真的可以說是台灣大學校園的過客。
這campus ，我在70年代初曾來過，我印象最深的，倒是校門口前的牛肉麵攤（似乎很快就拆掉；我1975年來參加過考試，完全沒印象了…..）

現在是2007年了，學校的建設進步多多，原舟山路旁的租界地都收回10年了，校園可以更平衡發展；科技界的校友也開始捐款建館…..走經明達館，多少會嘆氣（新聞：明基昨（12）日召開臨時董事會決議，公司改名將變更為「佳世達科技」。）

我今天 (2007/6/13)清晨，先在網路上讀一則關於黎列文先生的資料，上網找相關資訊。然後到校園去捧場學生們手忙腳亂服務的早上特餐：「涼麵和果汁」（前者的麵的咬勁很糟，後者的蜂蜜無法相絨）。希望他們以後還記得打工經驗。

---

「…….1947年暑期，我在福州等船來台，恰巧《台灣新生報》副社長、名譯作家黎烈文先生在福州招募編採人員。黎先生原任改進出版社社長，該社是抗戰前後東南的出版界重鎮。台灣光復後，應法國巴黎大學同學李萬居先生之請，來台擔任《新生報》副社長。……

李萬居先生……同年10月25日台灣光復節這一天，獨立創辦了《公論報》，委我主編副刊。我把副刊定名為「日月潭」，寓義於本土性、永恆性（日月）和公談（潭）性。…..

拿副刊「日月潭」來說，雖然擁有一些新銳作者，也曾獲得幾位名家的支援，如業師名作家靳以先生（章方敘）、黎烈文先生（轉任台大教授）、黎夫人雨田女士（許粵華，大陸女作家）、郭風（散文詩名家）、畢璞女士等，都時常賜稿；名畫家豐子愷先生，也供應了不少文章和漫畫。無奈那時生計艱困，作者也指望稿費來補貼家用（例如黎烈文教授，便曾以「魏前」為筆名，自嘲是諧音「為錢」二字），一旦供稿無酬，水準就無法維持。……」（也慨談《公論報》一段因緣 【聯合報2007.06.13╱陳玉慶／文】）

很懷念我初中時代（約1965）讀黎烈文(1904～1972)的作品，例如在網路可找到 的（基隆市立文化中心 ：鬼池, (法)桑.喬治(Sand,George,psend 1804-1876)/黎烈文/大業書店印行, 1957, 失嗚鳥, (法)米爾( )等/黎烈文/重光文藝出版社印行---這些出版社也早就歇業了…..）

大陸有些他的簡介，譬如說，上海市地方志办公室::::- 的：
「黎烈文(1904～1972)
又 名六曾。湖南湘潭人。筆名李維克等。 1922年到上海，任商務印書館編輯。 1926年赴日本、法國留學，獲碩士學位。 1932年回國，任法國哈瓦斯通訊社上海分社編輯。譯介法國文學名著，譯筆甚佳。同年12月，任申報館《自由談》副刊主編，約請魯迅、茅盾、陳望道等進步作家撰稿，呼籲救亡，針砭時弊，使《自由談》煥然一新，成為當時很有影響的報紙副刊，1934年5月被迫離職。 1935年，與魯迅、茅盾創辦《譯文》月刊，1936年，主編《中流》半月刊，所編刊物很有特色。 1938年，應福建省主席陳儀之聘，在福建永安創辦改進出版社，任社長兼發行人。邀請杜俊東、陳範予、陳占元、許天虹等合作。 1939年3月起，除主編《改進》綜合半月刊外還出版《現代文藝》等6種期刊。組織大後方作家出版《改進叢書》等。內容之充實，選材之精當，印刷之完美， 堪稱抗戰時期大後方的第一流出版物。抗日戰爭勝利後去台灣，1946年初，任台北新生報社副社長。 1947年任台灣大學教授。曾來上海與老友巴金、趙家璧等相聚。 1972年10月31日在台北病逝。譯著有《冰島漁夫》、《紅蘿蔔須》、《崇高的女性》等21種。 」

傅雷圖書數據庫- 翻譯家的［黎烈文］項目：

「翻譯家 姓名 黎烈文 (1904-1972)先生
譯作鄉下醫生, 巴爾扎克Honoré de BALZAC ;
妒誤 , 本那特 Jean-Jacques BERNARD ;
亞維爾的秘密, 倍納爾Jean-Jacques BERNARD ;
企鵝島 , 佛郎士 Anatole FRANCE ;

“Never lend books, for no one ever returns them; the only books I have in my library are books that other folks have lent me.”
― Anatole France
(Photo: M. France in his library)


冰島漁夫 , 羅逖 Pierre LOTI ;

這部小說的題材，取自法國布列塔尼北部地區的漁民生活。一八七七年至一八七八年間，洛蒂和一個高大強壯、身手矯健的水兵皮埃爾·勒柯爾結下了親密的友誼，這個來自布列塔尼的漁民出身的水手，後來成為小說《我的兄弟伊弗》中的主人公和《冰島漁夫》中揚恩的原型。正是在他身上，洛蒂認識了世世代代靠漁業為生的「冰島人」。這個勤勞勇敢的航海民族，每年要在冰島海面度過漫長的春季和夏季，直到秋天才返回家園。這項艱苦而危險的職業，不知葬送了多少生命。八十年間，一百多條漁船和兩千多名壯漢就這樣在海面上消失了。對這場人與海的無止無休的較量，洛蒂作為一個海員，自然有深刻的體驗和感受，於是由此產生了一部前無古人的海的詩篇。
這部小說的題材，取自法國布列塔尼北部地區的漁民生活。一八七七年至一八七八年間，洛蒂和一個高大強壯、身手矯健的水兵皮埃爾·勒柯爾結下了親密的友誼，這個來自布列塔尼的漁民出身的水手，後來成為小說《我的兄弟伊弗》中的主人公和《冰島漁夫》中揚恩的原型。正是在他身上，洛蒂認識了世世代代靠漁業為生的「冰島人」。這個勤勞勇敢的航海民族，每年要在冰島海面度過漫長的春季和夏季，直到秋天才返回家園。這項艱苦而危險的職業，不知葬送了多少生命。八十年間，一百多條漁船和兩千多名壯漢就這樣在海面上消失了。對這場人與海的無止無休的較量，洛蒂作為一個海員，自然有深刻的體驗和感受，於是由此產生了一部前無古人的海的詩篇。
前言第一部第二部第三部
第四部第五部

紅蘿蔔須 , 賴納 Jules RENARD ;
筆爾和哲安 , 莫泊桑 Guy de MAUPASSANT ;
兩兄弟 , 莫泊桑 Guy de MAUPASSANT ;
醫學的勝利 , 洛曼 Jules ROMAINS ;
伊爾的美神 , 梅里美 Prosper MÉRIMÉE ;
法國短篇小說集 , 左拉 ZOLA」

【案： 台灣比較少知道這：「30年代出版了兩本芥川的作品集，這就是《芥川龍之介集》（馮子韜譯，中華書局1934年版）和《河童》（黎烈文等譯，文化生活出版社1936年版）。這裡只想談談翻譯家黎烈文的譯本。此書仍選用了魯迅的兩篇譯文，再加上黎烈文翻譯的《河童》和《蜘蛛之絲》。後面附了一篇日本作者永見德太郎的評論《芥川龍之介氏與河童》。」】

屋頂間的哲學家—愛的哲學(Un philosophe sous les toits ...
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冰島漁夫及兩插畫三部電影； Portrait of Pierre Loti, The temptation of the West By André　Malraux；史景遷《馬爾羅的誘惑》；The Last Days of Pekin by Pierre Loti.

這部小說的題材，取自法國布列塔尼北部地區的漁民生活。一八七七年至一八七八年間，洛蒂和一個高大強壯、身手矯健的水兵皮埃爾·勒柯爾結下了親密的友誼，這個來自布列塔尼的漁民出身的水手，後來成為小說《我的兄弟伊弗》中的主人公和《冰島漁夫》中揚恩的原型。正是在他身上，洛蒂認識了世世代代靠漁業為生的「冰島人」。這個勤勞勇敢的航海民族，每年要在冰島海面度過漫長的春季和夏季，直到秋天才返回家園。這項艱苦而危險的職業，不知葬送了多少生命。八十年間，一百多條漁船和兩千多名壯漢就這樣在海面上消失了。對這場人與海的無止無休的較量，洛蒂作為一個海員，自然有深刻的體驗和感受，於是由此產生了一部前無古人的海的詩篇。
這部小說的題材，取自法國布列塔尼北部地區的漁民生活。一八七七年至一八七八年間，洛蒂和一個高大強壯、身手矯健的水兵皮埃爾·勒柯爾結下了親密的友誼，這個來自布列塔尼的漁民出身的水手，後來成為小說《我的兄弟伊弗》中的主人公和《冰島漁夫》中揚恩的原型。正是在他身上，洛蒂認識了世世代代靠漁業為生的「冰島人」。這個勤勞勇敢的航海民族，每年要在冰島海面度過漫長的春季和夏季，直到秋天才返回家園。這項艱苦而危險的職業，不知葬送了多少生命。八十年間，一百多條漁船和兩千多名壯漢就這樣在海面上消失了。對這場人與海的無止無休的較量，洛蒂作為一個海員，自然有深刻的體驗和感受，於是由此產生了一部前無古人的海的詩篇。
前言第一部第二部第三部
第四部第五部



Thomy Bourdelle dans Pêcheur d'Islande de Pierre Guerlais (1933)

https://www.youtube.com/watch?v=2B1hV1D81K4




An Iceland Fisherman (French: Pêcheur d'Islande, 1886) is a novel by French author Pierre Loti. It depicts the romantic but inevitably sad life of Breton fishermen who sail each summer season to the stormy Iceland cod grounds. Literary critic Edmund Gosse characterized it as "the most popular and finest of all [Loti's] writings." [1]

Loti's style is a combination of the French realist school, such as Émile Zola, and a form of literary impressionism.[1] As Jules Cambon says, Loti wrote at a "..time when M. Zola and his school stood at the head of the literary movement. There breathed forth from Loti's writings an all-penetrating fragrance of poesy [poetry], which liberated French literary ideals from the heavy and oppressive yoke of the Naturalistic school."[2] Loti uses a simple vocabulary, "but these words, as used by him, take on a value we did not know they possessed; they awaken sensations that linger deeply within us."[3] The characters are humble and simple working-class people, the incidents are normal every day affairs, dealing with the themes of love and separation.[2]

Loti's greatest strength is in the depictions of nature, placing it center stage, as Cambon says:

He writes with extreme simplicity, and is not averse to the use of vague and indefinite expressions. And yet the wealth and precision of Gautier's and Hugo's language fail to endow their landscapes with the striking charm and intense life which are to be found in those of Loti. I can find no other reason for this than that which I have suggested above: the landscape, in Hugo's and in Gautier's scenes, is a background and nothing more; while Loti makes it the predominating figure of his drama. Our sensibilities are necessarily aroused before this apparition of Nature, blind, inaccessible, and all-powerful as the Fates of old.[2]

It was adapted for the stage by Louis Tiercelin with music by Guy Ropartz. Another work based on the same novel was the 30-minute symphonic poem Nordland-Rhapsodie (Nordic Rhapsody) for large orchestra written by Austrian composer Joseph Marx in 1929. The novel has been filmed three times, most notably in 1959 by French director Pierre Schoendoerffer.

It's also quoted and referenced as inspiration in the 2015 movie Lichtes Meer [de].

Footnotes[edit]

  1. ^ Jump up to:a b Encyclopædia Britannica Eleventh Edition, "Pierre Loti", by Edmund Gosse
  2. ^ Jump up to:a b c Jules Cambon, "Introduction", New York P.F. Collier. 1902 (see external links).
  3. ^ Rene Doumie. Contemporary French Novelists. New York, Boston : T. Y. Crowell & company. 1899. Page 274.

External links[edit]





冰島漁夫


作者： 畢爾．羅逖著 
出版社：志文
語言：繁體中文

　　法國印象派大作家羅逖的「冰島漁夫」是所有描寫海洋的小說中最具代表性的一本。這是一本注重情節與客觀描寫的寫實性小說。裡面有著以生命來換取生活的壯烈戰鬥，青年男女天真的戀情，和被命運玩弄的可憐婦女的故事。男人的熱愛海，女人的怨恨海，海洋的變幻莫測、陰鬱的大自然，以及人在大自然中升沉追逐的悲歡離合的悲劇，構成本書的主題作者以其充滿異國情調的浪漫筆調，將我們從愁雲慘霧的北極帶到炎暑、生息全無的南國戰場，再帶到荒涼冷落的北法蘭西海岸，使我們瞭解那些被命運註定生於海死於海的漁人，如何以他們悲劇的情懷對抗殘酷的命運，以及如何不可避免的在海洋的神秘誘惑下，像飛蛾撲火般投入「她」的懷中的際遇。看完本書，相信您必會受到強烈的震憾而掩卷深思。


The temptation of the West
Malraux, André, 1901-1976.
1992




2







圖書

The temptation of the West

Malraux, André, 1901-1976.

1961

可在 總圖書館 Main Library 總圖5F綜合資料區 (郭松棻.李渝 CB251 M313 1961)獲得






書評參考史景遷
《馬爾羅的誘惑》

收入《中國縱橫》75~88


Portrait of Pierre Loti, 1891 #naïveart






Loti:...躺在大床上，看到周圍的牆上和天花板都是老鼠的尖臉和閃閃發光的眼睛。......爭吃法式蛋糕時，瓷盤發出的叮噹聲。~~~史景遷 《馬爾羅的誘惑》，收入《中國縱橫》75~88

The Last Days of Pekin by Pierre Loti.


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2021年4月26日 星期一

梵高（Vincent van Gogh）160歲/ 梵谷書簡 The Letters of Vincent Van Gogh/ Van Gogh’s Evolution. Vincent van Gogh: A Life in Letters


Submit a letter:

Email us letters@nybooks.com

Reviewed:

A letter from Vincent van Gogh to Theo van Gogh, September 1881

Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation)

A letter from Vincent van Gogh to Theo van Gogh, September 1881

If ever an artist needed a degree of protection against his public, surely it is Vincent van Gogh. Reproductions of his most emblematic paintings, especially the gyrating nightscapes and the blazing series of sunflower studies made in his late years, adorn countless bedrooms, living rooms, and bathrooms all across what used to be known as the developed world. The popularity of the works executed in the great flowering of this last period, which began around the time of his revelatory visit in the autumn of 1885 to the newly completed Rijksmuseum, in Amsterdam, and ended when he died less than five years later at the age of thirty-seven, is unparalleled. Of the great ones among his contemporaries, and there were many, only Degas can come near to rivaling him as a mainstay of interior decoration.

What would the Dutch master make of his posthumous fame among the bourgeoisie and the billionaires alike? We can trace fairly accurately the foundations of the Van Gogh myth to the 1934 novel Lust for Life by Irving Stone and the 1956 movie of the same title based on the book, directed by Vincente Minnelli and starring Kirk Douglas as Van Gogh and Anthony Quinn as Paul Gauguin. Stone made the plot of the novel from his research among Van Gogh’s correspondence, a three-volume edition of which had been published in 1914, edited by the painter’s sister-in-law Jo van Gogh–Bonger. The novel does as blockbusters do, and so does the film, but both make a decent attempt at portraying the life, and of course the lust, of this truly tormented artist. In the movie, Douglas bears a remarkable resemblance to the Van Gogh of the many self-portraits. He overacts wildly, though not so wildly as Quinn—“I’m talkin’ about women, man, women. I like ’em fat and vicious and not too smart”—and out of such caricatures are legends made.

To be fair to the novelist and the filmmakers, the life, and to some extent the paintings, are the stuff of legend. Although he produced thousands of works of art in his pitifully short time on earth, Vincent—as, following his own example, we shall call him—failed to sell a single painting in his lifetime, despite the fact that his brother Theo was a prominent Paris art dealer who, among other business coups, made a reputation for Gauguin and a fortune for Claude Monet. Although he suffered through periods of deepest doubt, Vincent knew that one day his work would be recognized for its true worth. All the same, even in his most exalted transports of optimism, and there were some, he could not have dreamed that his jarringly revolutionary paintings would one day rise so high in popular regard.

There were numerous editions of the Van Gogh letters before the one assembled by Van Gogh–Bonger after the death of her husband, Theo van Gogh.

 The first scholarly edition, by the English critic Douglas Cooper, was published in 1938, while the standard collection was established by the painter’s nephew, Vincent Willem van Gogh, and published between 1952 and 1954. Then, in 1994, the Van Gogh Museum and the Huygens Institute, in the Netherlands, brought together a team of editors and translators to produce a complete edition of the 820 surviving letters, which was published in 2010 in six sumptuous volumes. Vincent van Gogh: A Life in Letters is a representative selection of seventy-six of those letters.

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“Be clearly aware of the stars and infinity on high. Then life seems almost enchanted after all.”—Vincent van Gogh, born on this day in 1853.
Learn more about the Letters of Vincent van Gogh: http://bit.ly/XrTfI8

梵高（Vincent van Gogh）160歲/ 梵谷書簡  The Letters of Vincent Van Gogh/ Van Gogh’s Evolution

Van Gogh’s Evolution, From Neophyte to Master


By TED LOOS

Published: October 26, 2012
There are some artists on whom the sun never sets.
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Van Gogh Museum Amsterdam
“Self-Portrait With Straw Hat,” is in an exhibition at the Denver Art Museum. More Photos »
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Slide Show
An Artist’s Evolution
Van Gogh is certainly one of them, given his status as an artist beloved by the public and revered by curators, a genius with a compelling, sad life story to boot.
“There’s always a van Gogh show on the horizon, just as there’s always Beethoven being played somewhere,” said Joseph J. Rishel, a curator of European paintings at thePhiladelphia Museum of Art, who organized “Van Gogh Up Close” there earlier this year.
The latest major entry is “Becoming van Gogh” at the Denver Art Museum. The exhibition, featuring 70 works by the master and 20 by other artists who inspired him, is scheduled to remain on view until Jan. 20 and does not travel to any other sites.
The show traces van Gogh’s development through the 1880s from a struggling, inhibited neophyte, represented by works like the drawings “Girl Carrying a Loaf of Bread” (1882), to a painter in full flourish who could make the shimmering “Landscape from Saint-Rémy” (1889).
Timothy Standring, the curator who organized the Denver show, has his own version of Mr. Rishel’s Beethoven analogy: “Can there be too many books about Shakespeare?”
But while van Gogh’s reputation virtually guarantees that people will flock to the show, “It’s the hardest kind of exhibition to put together,” Mr. Standring said.
The trick for curators is twofold. First, they must come up with a fresh angle on an artist who lived to be only 37 and consequently did not produce as many works, as, say, Picasso. Second, they have to secure loans of incredibly valuable artworks from museums that might be reluctant to share.
Mr. Standring called the exhibition “the most ambitious show we’ve done, as ambitious as the Libeskind building,” referring to the architect Daniel Libeskind’s striking, angular design for the addition to the museum that was completed in 2006.
He added, “We don’t even have a van Gogh in our collection.”
Mr. Standring’s first step was to make a call to Amsterdam. “When you plan a van Gogh exhibit, you need to get blessing of the Van Gogh Museum,” he said, because of its ability to lend works and share its expertise.
In discussions with Louis van Tilborgh, a senior researcher there, Mr. Standring laid out an idea for one exhibition — a focus on van Gogh’s work from 1888 — but it was deemed logistically too difficult to mount.
But his second idea, a look at van Gogh’s crucial years in Paris, became the seed of the current show, which expanded to cover a whole decade.
Mr. Standring said he wanted to give nuance to the popular perception of the artist as sui generis. “People are generally unfamiliar with anything pre-“Sunflowers” or pre-“Wheatfields,” he said, referring to two of van Gogh’s iconic later series. “We’re doing corrective art history.”
Van Gogh’s struggles with illness and the artistic flourishing of his last two years may have warped the public’s perception of his learning curve, Mr. Van Tilborgh said.
“We all think he’s a genius, but he placed a lot of value on craftsmanship. When he started, he had no talent for drawing. If you look at his early drawings, they’re horrible. So how did he develop?”
The answer, Mr. Van Tilborgh said, was persistence. “If he couldn’t do it, he tried it 50 more times. He was one of those rare artists who had the energy to work through the fear of failure.”
“Becoming van Gogh” gives particular attention to the period the artist spent in Paris, staying with his brother Theo and studying color theory.
“He was hovering in Paris for two years,” Mr. Standring said. “Maybe we’re fortunate he didn’t land. He might have turned into a second-rate Impressionist.”
Works from that period in the exhibition include “People Strolling in a Park” (1886) and “View of a Park in Paris” (1886), neither of which resembles the late-career masterpieces that made him famous after his death.
Also featured is a Paris work with a strange past: “The Blute-fin Mill” (1886). The painting — an unusual depiction of a group of people, rarely tried by Van Gogh — was bought from a dealer in Paris by the controversial Dutch curator Dirk Hannema in 1975.
Mr. Hannema, who died in 1984, believed it was van Gogh’s work, but the art world doubted him because of previous missteps — in particular, his attributions of several works to the 17th-century Dutch master Vermeer, which were later discredited.
“His reputation was so bad in the 1970s after the Vermeers,” Mr. Van Tilborgh said. “But when we investigated, we came to the conclusion that he was right about the van Gogh.” The painting was authenticated in 2010, and it was lent to Denver by the Foundation Museum in Heino, the Netherlands.
Mr. Van Tilborgh’s enthusiasm led the Van Gogh Museum to lend seven works to the show, including “Self-Portrait With Straw Hat” (1887). He also edited the catalog with Mr. Standring.
“That gave us our imprimatur,” Mr. Standring said of his attempts to pry other van Goghs out of other institutions.
One major Midwestern museum proved the hardest sell. “It took eight asks, including in-person trips, to get them to agree,” Mr. Standring said, declining to name the institution.
“You have to be prosecutor, defense attorney, psychologist, sociologist and diplomat to do this kind of show,” he added. “They don’t teach you all that in art history graduate school.”
Usually, the Van Gogh Museum tries to stagger major shows of the artist’s work at other museums, so that loans are easier to get and its own resources are not taxed.
So what Mr. Standring called “the beautiful confluence of two big van Gogh shows in a year” — his own and Mr. Rishel’s — could have caused problems all around.
But the curators played nice, which was easier given that their points of focus were different. Mr. Rishel was primarily exploring van Gogh’s perspective on nature, so the Philadelphia museum was more willing to lend an important portrait, “Portrait of Madame Augustine Roulin and Baby Marcelle” (1888), to Denver.
“I shared my checklist early on with Joe, and he was very generous and very cordial,” Mr. Standring said. “And I helped arrange for one picture to go to his exhibit.”
Mr. Standring added that he hoped both shows — with their highly specific, nonblockbuster approaches — would deepen an understanding of the artist.
“Maybe this represents a maturity of van Gogh exhibitions,” he said. “Thematic, instead of just a collection of great objects.”

Vincent van Gogh - Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Vincent_van_Gogh - Cached
Vincent Willem van Gogh was a Dutch post-Impressionist painter whose work, notable for its rough beauty, emotional honesty and bold color, had a far-reaching ...

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 我有一版本 The Letters of Vincent Van Gogh , Penguin Classics, 1996

 *****

經過一世紀多的整理: 

 Van Gogh Letters – The complete letters of Van Gogh, translated into English and annotated. Published by the Van Gogh Museum.

 
Version: June 2012
Edited by Leo Jansen, Hans Luijten and Nienke Bakker

The letters are the window to Van Gogh's universe.

This edition, the product of 15 years of research at the Van Gogh Museum and Huygens ING, contains all Van Gogh's letters to his brother Theo, his artist friends Paul Gauguin and Emile Bernard, and many others.

Here you will find the letters in the latest edition (2009), richly annotated and illustrated, with new transcriptions and authorized English translations.
 *****

名譯家雨云的作品
 翻譯的底本是 I. Stone夫婦的選本 出版社誇說全集是井底之蛙

梵谷書簡全集

  • 作者：梵谷/著
  • 譯者：雨云
  • 出版社：藝術家
  • 出版日期：1990年
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  •  梵谷是偉大的畫家；也是世上最孤的靈魂之一。他活著的泰半日子裡，身旁幾乎沒有一個可以信託，可以敘述快樂、苦難的人。他在世的最後十年，也就是他沈迷征 服了繪畫藝術的期間，他渴求對一個人傾述他那澎湃的生命，和徐緩成熟的技藝之所思所感的一切事物。然而卻難找到一位願意了解他想說什麼的人。於是一部自傳 誕生了。文生、梵谷用筆向他的弟弟－西奧傾吐心聲，如此，他寫下了感人的生命故事。 
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  •  昨天是荷蘭後印象派畫家梵高（Vincent van Gogh）160歲冥壽，他生前繪畫了多幅《向日葵》，分散在全球不同的博物館展出。為慶祝一項10年的「梵高研究計劃」踏入高潮，阿姆斯特丹梵高博物館及倫敦英國國家美術館將輪流展出兩幅「向日葵」，使兩地遊客有機會看見兩幅「向日葵」並列的奇景。
    《向日葵》（Sunflowers，1888年）。
    【本報國際組報道】昨天是荷蘭後印象派畫家梵高（Vincent van Gogh）160歲冥壽，他生前繪畫了多幅《向日葵》，分散在全球不同的博物館展出。為慶祝一項10年的「梵高研究計劃」踏入高潮，阿姆斯特丹梵高博物館 及倫敦英國國家美術館將輪流展出兩幅「向日葵」，使兩地遊客有機會看見兩幅「向日葵」並列的奇景。
    　　準備輪流展出的兩幅畫，同樣畫了15朵向日葵，其中倫敦收藏的初版於1888年末期完成，翌年初他又畫了阿姆斯特丹收藏的新版本，顏色更明亮， 而且多了藍色的種子。梵高博物館館長魯格（Axel Ruger）表示，這兩輻畫將向遊客展示梵高並非傳言中的瘋子。他說：「梵高的藝術創作富條理，這與一般理解指他在畫布上瘋狂亂潑顏料的形象很不同。研究 顯示梵高是很認真地仔細繪畫，他有研究其他藝術家的作品，並學習色彩理論。」
    　　梵高在全心作畫前，曾做過藝術品買賣及傳教士，也關心低下層農民的生活苦況，早期如《吃馬鈴薯的人》、《一雙鞋子》等油畫，靈感正是來自貧民， 惟盡是陰沉暗黑色彩，表現憂鬱。畢生只售出一幅《紅色葡萄園》的梵高，一直靠弟弟西奧接濟，兩人感情要好，來往的上千封書信，助後世窺探梵高創作的心路歷 程。
    　　2個版本難得輪流展出
    　　梵高正式學畫畫後，33歲時到法國巴黎居住，並結識了高更（Paul Gauguin）等同時期的畫家；至遷往南部城鎮亞爾後，油畫用色由一向陰沉轉趨明亮，特別愛用大量鮮黃色。亞爾時期的名作，包括住處《黃屋》、用來迎接 畫家朋友高更的《向日葵》等。梵高後期光明亮麗的畫風，以及大膽的粗筆觸，成為作品的標記。
    　　梵高與高更本是好友，但有說法指高更出於嫉妒，曾經買通妓女，向梵高佯言想要他的耳朵作聖誕禮物，喝醉的梵高竟「照單全收」割下左耳。不過，有說法稱，兩位畫家吵架後，高更盛怒下用劍割掉梵高左耳。
    　　梵高的愛情生活亦波折重重，初戀是上流富家女，後戀上表親而觸怒擔任神職的爸爸，父子決裂。後來對懷孕妓女一見鍾情，並節衣縮食助養生下的孩子，可惜妓女恩將仇報，偷錢吃喝玩樂。唯一愛過他的瑪戈特因家人干涉，最終與梵高未能開花結果。
    　　梵高晚年傳患上精神病，終在37歲時懷疑開槍自殺，另有指他被小童玩槍時走火誤殺。
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2021年4月24日 星期六

Noam Chomsky at 92；92歲的"大師"Noam Chomsky接受《紐約客》訪問，他認為( Believes )：Trump 是人類史最要不得的罪犯( “the Worst Criminal in Human History} 2次訪談；state capitalism / Humanitarian Imperialism 人道的帝国主義―民主国家アメリカの偽善と反戦平和運動の実像






4月23日 反思錄 0423 2021：周芬伶'洪銘水。一些大學的新聞( News from Some Universities)：92歲的"大師"Noam Chomsky接受《紐約客》訪問，他認為( Believes )：Trump 是人類史最要不得的罪犯( “the Worst Criminal in Human History}《德斯坦回憶錄--政權與人生》《一代報人王芸生》；胡適、蔣介石與王芸生敬悼盧淵源、彭淮棟譯的托瑪斯．曼《浮士德博士：一位朋友敘述的德國作曲家阿德里安．雷維庫恩的生平》(Doktor Faustus)


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訪談中的人物 (56)：92歲的"大師"Noam Chomsky接受《紐約客》訪問，他認為( Believes )：Trump 是人類史最要不得的罪犯( “the Worst Criminal in Human History}



HCMEMORY.BLOGSPOT.COM
訪談中的人物 (56)：92歲的"大師"Noam Chomsky接受《紐約客》訪問，他認為( Believes )：Trump 是人類史最要不得的罪犯( “the Worst Criminal in Human History}
Noam Chomsky - Wikipedia https://en.wikipedia.org › wiki › Noa... Avram Noam Chomsky (born December 7, 1928) is an American linguist, philos...







How do you introduce Noam Chomsky? Perhaps you start here: In 1979, The New York Times called him “arguably the most important intellectual alive today.” More than 40 years later, Chomsky, at 92, is still putting his dent in the world — writing books, giving interviews, changing minds.

您如何介紹Noam Chomsky？ 也許您從這裡開始：1979年，《紐約時報》稱他為“當今最重要的知識分子”。 40多年後，現年92歲的喬姆斯基仍然在世界上屈指可數-寫書，接受采訪，改變主意。


There are different sides to Chomsky. He’s a world-renowned linguist who revolutionized his field. He’s a political theorist who’s been a sharp critic of American foreign policy for decades. He’s an anarchist who believes in a radically different way of ordering society. He’s a pragmatist who pushed leftists to vote for Joe Biden in 2020 and has described himself as having a “rather conservative attitude towards social change.” He is, very much, himself.


喬姆斯基有不同的立場。 他是一位享譽世界的語言學家，徹底改變了他的領域。 他是一位政治理論家，數十年來一直是美國外交政策的尖銳批評家。 他是一位無政府主義者，堅信採用一種截然不同的社會秩序方式。 他是一個實用主義者，於2020年推動左派人士投票選舉喬·拜登（Joe Biden），並形容自己對社會變革持“相當保守的態度”。 他非常，就是他自己。

The problem in planning a conversation with Chomsky is how to get at all these different sides. So this one covers a lot of ground. We discuss:

在計劃與喬姆斯基的對話時，問題在於如何從所有這些不同方面入手。 因此，這涉及很多領域。 我們討論：




Why Chomsky is an anarchist, and how he defines anarchism


How his work on language informs his idea of what human beings want


The role of advertising in capitalism


Whether we should understand job contracts as the free market at work or a form of constant coercion


How Chomsky’s ideal vision of society differs from Nordic social democracy


How Chomsky’s class-based theory of politics holds up in an era where college-educated suburbanites are moving left on economics


Chomsky’s view of the climate crisis and why he thinks the “degrowth” movement is misguided


Whether job automation could actually be a good thing for human flourishing


Chomsky’s views on US-China policy, and why he doesn’t think China is a major geopolitical threat


The likelihood of nuclear war in the next decade

And much more.

(A full transcript of the episode can be found here.)

為什麼喬姆斯基是無政府主義者，以及他如何定義無政府主義

他在語言方面的工作如何傳達出他對人類想要的東西的想法

廣告在資本主義中的作用

我們應該將工作合同理解為工作中的自由市場還是持續的強制形式

喬姆斯基的理想社會觀與北歐社會民主主義有何不同

喬姆斯基的基於階級的政治理論如何在這個受大學教育的郊區人向經濟學左移的時代中站穩腳跟

喬姆斯基對氣候危機的看法以及為什麼他認為“退化”運動被誤導了

工作自動化對人類的繁榮是否真的是一件好事

喬姆斯基對美中政策的看法，以及為什麼他不認為中國是主要的地緣政治威脅

未來十年發生核戰爭的可能性

以及更多。

（該劇集的完整記錄可以在此處找到。）


圖像
信用...《紐約時報》的插圖；攝影：Heuler Andrey / Agence France-Presse，圖片來源：Getty Images
“ Ezra Klein Show”由Roge Karma和Jeff Geld製作；米歇爾·哈里斯（Michelle Harris）的事實核對；艾薩克·瓊斯（Isaac Jones）的原創音樂；傑夫·格爾德（Jeff Geld）混音。


以斯拉·克萊因秀





ImageCredit...Illustration by The New York Times; photograph by Heuler Andrey/Agence France-Presse, via Getty Images


“The Ezra Klein Show” is produced by Roge Karma and Jeff Geld; fact-checking by Michelle Harris; original music by Isaac Jones; mixing by Jeff Geld.


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"𝑷𝒐𝒘𝒆𝒓 𝒎𝒖𝒔𝒕 𝒃𝒆 𝒊𝒏 𝒕𝒉𝒆 𝒉𝒂𝒏𝒅𝒔 𝒐𝒇 𝒕𝒉𝒆 𝒘𝒆𝒂𝒍𝒕𝒉 𝒐𝒇 𝒕𝒉𝒆 𝒏𝒂𝒕𝒊𝒐𝒏."
Happy Birthday, Noam Chomsky 🎂




...What are people supposed to think if someone says ‘I have got an answer, we have an enemy’? There it was the Jews. Here it will be the illegal immigrants and the blacks. We will be told that white males are a persecuted minority. We will be told we have to defend ourselves and the honor of the nation. Military force will be exalted. People will be beaten up. This could become an overwhelming force. And if it happens it will be more dangerous than Germany.
郝明義Rex How
六年前預言的大師今天會怎麼說
　
這次美國大選後，英國《獨立報》找出了六年前美國一家網路媒體Truthdig 對喬姆斯基（Noam Chomsky）的訪問。
　
喬姆斯基集語言學、認知學、哲學等多種領域的專研於一身，不但在專業學術上著作等身，有里程碑的貢獻，還樂於以他犀利的觀察分析各種政治與社會現象（比他專業著作多了一倍以上）。因此，喬姆斯基是眾所推崇的美國代表性的知識份子，一代大師。很多人尤其感嘆他花那麼大量時間分析政治、社會現象寫作給一般社會大眾的書，那些時間如果都集中用在他的學術研究上，不知更是何種成就。因此當年911發生後，我第一時間想到出版分析這個事件的書，正是喬姆斯基的著作。
　
2010年，Truthdig 訪問喬姆斯基，談美國的兩黨政治、國會運作、社會與媒體現象等。喬姆斯基對沒有規範的資本主義、全球化以及帝國主義一向都有最尖銳的觀察，所以當時他就觀察到美國的民主制度處在一種很脆弱的狀態，並警告美國這種民主制度的運作持續不了多久（we have little time left to save our anemic democracy）。
　
喬姆斯基說：美國社會的情況，和德國威瑪共和的晚期有驚人的相似之處。兩者都是對議會民主的運作有巨大的失落感。最後不論保守還是自由派的政黨都被唾棄，給了納粹崛起的空間。
　
喬姆斯基說他愛聽收音機節目，所以會聽一個右翼電台，聽那些Call in進來的人說什麼。他說那些人就像自駕飛機撞山的駕駛員一樣，他們都吐露的心聲都是：「我怎麼這麼倒楣？我什麼壞事也沒做啊！我是個敬畏上帝的基督徒。我努力為家庭工作。我有槍。我相信這個國家的價值觀，可是我的生命在垮掉！」
　
不過，六年前的喬姆斯基說：「美國萬幸的是，還沒有出現一個直言無忌、具有領袖魅力的人（The United States is extremely lucky that no honest, charismatic figure has arisen）。
　
他認為，在美國社會充斥著挫折感、幻滅感、自以為是的憤怒、缺乏有效溝通的情況下，如果出現這樣一個人，那就麻煩大了。
　
喬姆斯基說：如果這個人喊出來這樣一句話呢：「我有答案了！我知道我們的敵人是誰了！」接著他說：過去在德國，那個敵人就是猶太人。今天在美國，那就是非法移民和黑人。
　
「他會告訴我們，白人男人是被歧視的少數族群。他會告訴我們，我們要捍衛自己和國家的榮譽。」而結果，對外會訴諸軍力，對內會訴諸棒子（Military force will be exalted. People will be beaten up. ）
　
喬姆斯基說，真走到這一步，那美國要比當年的德國更危險。再接著，這位先生說了這一段話：「我不認為那是多久以後的事。如果民調沒錯的話，下次選舉得勝的將不是共和黨人，而是右翼的共和黨人，發瘋的共和黨人。」
喬姆斯基還很感嘆地拿六年前的美國和1930年代大蕭條時代做了個比較。他說那時的情況其實更險惡，但是大家還抱著希望。而今天不是。大家對現有各種組織的憤怒、沮喪和憎恨，已經累積到必將發洩成自我毀滅的奇幻劇（It is going off into self-destructive fantasies.）
六年前，當喬姆斯基還慶幸美國好在沒有出現一個直言無忌、具有領袖魅力的人的時候，他都看到未來的情勢會如此險惡，不知六年後的今天他又會對接下來的情勢說些什麼。
安靜期待這位大師的發言。
（補充）剛才一位網友提醒我他已經又接受Truthdig的訪問，在這裡： http://www.truth-out.org/…/38360-trump-in-the-white-house-a…



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A special report on state capitalism


The visible hand

The crisis of Western liberal capitalism has coincided with the rise of a powerful new form of state capitalism in emerging markets(88)

a talk with Jean Bricmont - YouTube


Jean Bricmont (born 1952) is a Belgian theoretical physicist, philosopher of science and a professor at the Université catholique de Louvain. He works on renormalization group and nonlinear differential equations.
He is mostly known to the non-academic audience for co-authoring Fashionable Nonsense (also known as Intellectual Impostures) with Alan Sokal, in which they criticise relativism in the philosophy of science.[1] Jean Bricmont also collaborates with activist Noam Chomsky and campaigns on a variety of progressive causes.
In 2005 he published Impérialisme humanitaire. Droits de l’homme, droit d’ingérence, droit du plus fort ?, published in English as Humanitarian Imperialism in 2006.
In 2006, he wrote the preface to L'Atlas alternatif - Frédéric Delorca (ed), Pantin, Temps des Cerises [1]. He is a member of the Division of Sciences of the Royal Academy for Sciences, Letters and Arts of Belgium.
In 2007, he wrote an article in French discussing the possibility of a US invasion of Iran. "Pourquoi Bush peut déclencher une attaque contre l’Iran"
人道的帝国主義―民主国家アメリカの偽善と反戦平和運動の実像　[著]ジャン・ブリクモン
人道的帝国主義―民主国家アメリカの偽善と反戦平和運動の実像　[著]ジャン・ブリクモン
■論理的な批判、切れ味も鋭く　本書を読み進むうちに、すぐに気づくことがある。とにかく自らの論を説明するのに、これには二つの見方があるとか、明確にすべき三つの点があるとかいった具合の記述が多いのだ………[もっと読む]
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