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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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23日 星期五

Edward Hallett Carr《何謂歷史》What is history？；《新社會》The New Society







維基百科，自由的百科全書

愛德華·哈利特·卡爾
Edward Hallett Carr
出生 1892年6月28日
英國倫敦
逝世 1982年11月3日（90歲）
英國倫敦
國籍 英國
母校 劍橋大學三一學院
職業 史家 · 外交官 · 國際關係理論學家 · 新聞從業員
知名於 研究蘇聯歷史; 在國際關係理論中創立烏托邦現實主義教學法; 在《歷史是什麼？》一書中描述了根本的歷史性原理
配偶 Anne Ward Howe
Betty Behrens
兒女 1


愛德華· 哈利特·「泰德」·卡爾 （Edward Hallett "Ted" Carr，一般簡稱為 E.H. Carr, 1892年6月28日—1982年11月5日），為英國歷史學家、國際關係學者。卡爾為國際關係中的古典現實主義理論的奠基者之一。卡爾出生於英國倫敦一個中產階級家庭，畢業於劍橋大學。他於1916年進入英國外交部，在那裡一直工作到1936年。1917年卡爾開始處理與蘇聯有關的事務。1919年作為英國代表團的一員，卡爾參加了巴黎和會，此後開始負責與國聯相關的工作。1929年開始，卡爾撰寫了大量關於俄國、蘇聯以及國際關係的文章。


目錄
1著作
2選集
3參考文獻
4外部連接
著作[編輯]
《兩次世界大戰之間的國際關係》
《What is history？》ISBN 0-333-38956-5繁體中文譯本：《歷史論集》(王任光譯，臺北：幼獅出版社，1968，1990，ISBN：9575301641)、《何謂歷史？》(江政寬譯，臺北：博雅書屋，2009，ISBN：9789866614224)、《何謂歷史》(江政寬譯，臺北：五南圖書，2013，ISBN：9789571174549)簡體中文譯本：《歷史是什麼？》(吳柱存譯，北京：商務印書館，1981)、(陳恆譯，北京：商務印書館，2007)

《新社會》The New Society 李永熾譯，台北： 水牛，1973？




The New Society, with a New Preface. Paperback – 1 1 月 1957

作者 E. H. Carr (Author)



In May–June 1951, Carr delivered a series of speeches on British radio entitled The New Society, that advocated a commitment to mass democracy, egalitarian democracy, and "public control and planning" of the economy.[80] Carr was a reclusive man whom few knew well, but his circle of close friends included Isaac Deutscher, A. J. P. Taylor, Harold Laski and Karl Mannheim.[81] Carr was especially close to Deutscher.[16]:78–79 In the early 1950s, when Carr sat on the editorial board of Chatham House, he attempted to block the publication of the manuscript that eventually became The Origins of the Communist Autocracy by Leonard Schapiro on the ground that the subject of repression in the Soviet Union was not a serious topic for a historian.[82] As interest in the subject of Communism grew, Carr largely abandoned international relations as a field of study.[83] In 1956, Carr did not comment on the Soviet suppression of the Hungarian Uprising, while at the same time condemning the Suez War.[84]



選集[編輯]
  • Dostoevsky (1821–1881): A New Biography, New York: Houghton Mifflin, 1931.
  • The Romantic Exiles: A Nineteenth Century Portrait Gallery, London: Victor Gollancz, 1933.
  • Karl Marx: A Study in Fanaticism, London: Dent, 1934.
  • Michael Bakunin, London: Macmillan, 1937.
  • International Relations Since the Peace Treaties, London: Macmillan, 1937.
  • The Twenty Years' Crisis, 1919–1939: an Introduction to the Study of International Relations, London: Macmillan, 1939, revised edition, 1946.
  • Britain: A Study of Foreign Policy from the Versailles Treaty to the Outbreak of War, London; New York: Longmans, Green & Co., 1939.
  • Conditions of Peace, London: Macmillan, 1942.
  • Nationalism and After, London: Macmillan, 1945.
  • The Soviet Impact on the Western World, 1946.
  • A History of Soviet Russia, London: Macmillan, 1950–1978. Collection of 14 volumes: The Bolshevik Revolution (3 volumes), The Interregnum (1 volume), Socialism in One Country (5 volumes), and The Foundations of a Planned Economy (5 volumes).
  • The New Society, London: Macmillan, 1951.
  • German-Soviet Relations Between the Two World Wars, 1919–1939, London: Geoffrey Cumberlege, 1952.
  • What Is History?, 1961, revised edition ed. R.W. Davies, Harmondsworth: Penguin, 1986.
  • 1917 Before and After, London: Macmillan, 1969; American edition: The October Revolution Before and After, New York: Knopf, 1969.
  • The Russian Revolution: From Lenin to Stalin (1917–1929), London: Macmillan, 1979.
  • From Napoleon to Stalin and Other Essays, New York: St. Martin's Press, 1980.
  • The Twilight of the Comintern, 1930–1935, London: Macmillan, 1982.
  • The Comintern and the Spanish Civil War, 1984.
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