Finally, after a long time, I got to complete this novel. The reason it took me a little more time to complete this novel is the beginning. It does not captivate you from the very start like other novels by Dostoevsky but it's worth it after some pages. The main theme of the book is the concept Dostoevsky has mentioned in his other works “Beauty will save the world.”
The story revolves around a prince named Myshkin, who is returning from Switzerland. On the train, he meets Rogozhin, an unstable man who inherited a large sum of fortune from his father. Myshkin is a clean-hearted, pious, and plain speaker about whatever he wants to say. He cannot even think of doing something bad to anyone and will forgive everyone, and for that reason, people call him Idiot, thinking he does not know anything. The second person he meets is Lebedev, a minor clerk who knows everything about Petersburg’s important people.
There is a love triangle between Myshkin, Nastasya, and Aglaya. Nastasya is an epitome of beauty, unpredictability, and confidence, and also the concubine of the aristocrat Totsky, from age 16. At one point, Myshkin gets engaged to her, but she runs away to Rogozhin because his mad and violent obsession resonates with her self-destructive urge. Aglaya, on the other hand, is a very predictable girl who falls for Myshkin but keeps saying that she does not have any affection for him at all and is quite cruel to him. She also abandoned Myshkin because, according to her, the prince was still in love with Nastasya. The soul of Myshkin gets tormented between these two. There is also a very fascinating character of Ippolit who is a young nihilist and is counting his last days because of tuberculosis. He always has a craving for love from others. He is unable to share Myshkin’s intuition of the harmonious unity of all Being, an intuition evoked most intensely earlier in the novel in a description of the pre-epileptic aura.
According to the prince, Catholicism is an unChristian faith and that it preaches antichrist. He believed they fought just for political supremacy and it gave birth to atheism. There is no difference between the Roman Empire and the Catholic Church; they both exploit humans just for earthly gains. And what exactly is beauty? Beauty is the way you want to define it. If beauty lies in something ideal, then it can never be achieved, and if it is something like rational facts presented, then there is no unifying principle that tells us what to do with them. In terms of rational explanation, beauty is defined by many principles of mathematics like the golden ratio. Still, postmodernism argues that it is a constructed view that supports some systems such as patriarchy.
Myshkin, in the triangle of love, was also in despair because of these two. The example of Christ is presented here as someone who acts as a bridge between these two extremes; he reaches up to heaven to his father and reaches down to hell when he touches the ground and takes all of the sins of humans upon himself. But in this rational age, the bridge is broken, making many other people like Myshkin an Idiot. In the end, the prince ends up in the same condition as he was before visiting Russia because he could not hold on.
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必須納入歷史與人物之黑澤明
《曹永洋先生師友記：老曹傳奇或他與我們》......曹老師私人贈送曹永洋譯《電影藝術，黑澤明的世界》手製增訂版。made in Taiwan VS Made in USA 焦雄屏 （電影天皇——黑澤明，台北：蓋亞文化，2019，此書為專家之作）。品牌故事Criterion Collection 。 0423 Peter Grille, Kuroshawa. 主角介紹 Criterion Collection 中日本電影選 反思Wim Wenders最近電影 “Perfect Days,” ... “komorebi”(means the play of sunlight ..)..."漫談"Donald Keene 譯/著的日本文學" 40 ；哥倫比亞大學的「唐納德・基恩中心」等同事 Peter Grilli 在日本 (代々木八幡宮)
https://www.facebook.com/hanching.chung/videos/463616026519714
曹永洋先生的代表作的討論，我選擇三本
曹永洋譯《電影藝術，黑澤明的世界》＊的曹永洋著《歷史人物的回聲》 ＊＊和 《噶瑪蘭的燭光~陳五福醫師傳》1918-1997
＊我有曹老師私人贈送（2022年11月）的放大字體，增添插圖／說明（譬如說，原書304頁，擴增為356頁，末頁的結論／照片下：‘’1980~年代，黑澤明晚年在世界影壇有 影界天皇之稱，……影武者……昂藏高大的身軀，即使與西方人士並 排依然是巨人。‘’
原18頁空白，增加黑澤明晚年照片；原95 頁的黑白劇照改為彩照羅生門），增加二附錄的版本。海報，一舉成名時年四十歲，正當盛年。146頁改為海報：七武士公認為黑澤明不朽的代表作。這與後來BBC世界專家選擇相同（焦雄屏 《電影天皇——黑澤明》，台北：蓋亞文化，2019，此書為專家之作）。增補二張生之慾；有趣的是，此片是托爾斯泰短篇小說伊凡該編，未收，焦氏書有專章介紹。
＊＊學生報怨所選12 位人物都為外國人，刺激曹老師寫本國人物，参見 陳五福醫生
兩書
，後者焦點放在列夫·托尔斯泰（Leo Tolstoy，1828-1910）托爾斯泰作品作家論：志文出版諸書《戰爭與和平》《安娜‧卡列尼娜》《一日一善》 等等。《電影藝術，黑澤明的世界 》「 紅鬍子」「生之欲」等）。
（
我知道您還可以深入談張先生和其交情，所以請您考慮賜稿，或可與去年出書所漏掉的朋友之補充，使我們作品增光。謝謝您。
《曹永洋先生師友記：老曹傳奇或他與我們》
《曹永洋先生師友記：老曹傳奇或他與我們》......曹老師私人贈送
重點就在括號 專注發行當代電影傑作的發行商標準收藏（The Criterion Collection），會邀請名人到公司挑選他們心目中的「口袋片單」，讓他們講講這些電影何以偉大、何以重要。前幾天CC的YT頻道的來賓是役所廣司。
當然，到了這間在世界影壇上指標性地位的電影公司，役所廣司選了日本大師們的傑作：黑澤明的《紅鬍子》、《生之慾》、小林正樹的《切腹》，以及伊丹十三的《葬禮》。有趣的是，他選了一部九○年代的恐怖片：1997年黑澤清執導的《X物語》。
「這部也是傑作，《X物語》，我有演這部電影（笑）。」
看看役所廣司這個演到傳世經典電影而且自豪開心的燦笑，真可愛。
秦先生，或許您知道我在弄《曹永洋與我交情十年》”書，這是繼張清吉先生紀念文集的續集，主角移到曹先生的親師友情（張先生最重要）和著作（黑澤明和歷史人物兩書，後者焦點放在托爾斯泰作品論）。我知道您還可以深入談張先生和其交情，所以請您考慮賜稿，或可與去年出書所漏掉的朋友之補充，使我們增光。謝謝您。
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CRITERION.COM
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He comes across just as nice and as humble of a human being as I imagined him to be in real life. Great closet video.
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In a radiant, Cannes-award-winning performance of few words but extraordinary expressiveness, Koji Yakusho plays a public-toilet cleaner in Tokyo whose rich inner world is gradually revealed through his small exchanges with those around him and with the city itself. Channeling his idol Yasujiro Oz…… 查看更多
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全世界八十多億人，每人每天的生活大體有点類似……或許不同的的是，每個人留下來的“生活作品”差別大。曹老師是“文人／教師”，我們在本書選他的出版品
《電影藝術，黑澤明的世界》（唐納‧瑞奇著 曹永洋譯。此書編入新潮文庫 91 ，此書的“代譯序”為1973年7月15日；原著The Films of Akira Kurosawa by Donald Riche。加州大學出版社1984年有第三版，曹老師似乎未参考）本書扉頁附曹老師父親翻譯普希金的詩
近三年（）2022, 2023,2024每年各記一段與曹老師的友誼
不去版
漢清兄惠存（2020 11.10）
張清吉先生因出版此書與我結緣，為前了書中模糊不清的劇照。他很過意不去……因為不出版（按：再版），我大膽地如此處理。送這本書＊來紀念我們的友誼。
曹永洋
＊曹老師手工自造的修正（並放大）版。當天曹老師，張華兄與我從寒舍出發，一起搭計程車赴林皎碧女士建議的餐廳辦生日宴（前幾天我請曹老師在漢清講堂頒發當年“翻譯藝術獎”，直播馬上有六百多人觀看……）
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Celebrate 70 years of SEVEN SAMURAI in jaw-dropping 4K for the first-time-ever! Our exclusive two-week run begins next Friday, July 5. ⚔️
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Wim Wenders’s profoundly moving PERFECT DAYS (2023) has entered the collection! Buy our new edition for 50% OFF at Barnes & Noble during out summer sale! 💙 📸 https://bit.ly/3bBtfHU
In a radiant, Cannes-award-winning performance of few words but extraordinary expressiveness, Koji Yakusho plays a public-toilet cleaner in Tokyo whose rich inner world is gradually revealed through his small exchanges with those around him and with the city itself. Channeling his idol Yasujiro Oz…… 查看更多
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曹永洋譯《電影藝術，黑澤明的世界》手製增訂版。made in Taiwan VS Made in USA 焦雄屏 （電影天皇——黑澤明，台北：蓋亞文化，2019，此書為專家之作）。品牌故事Criterion Collection 。 0423 Peter Grille, Kuroshawa. 主角介紹 Criterion Collection 中日本電影選 反思Wim Wenders最近電影 “Perfect Days,” ...
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Sure, It Won an Oscar. But Is It Criterion?
How the Criterion Collection became the film world’s arbiter of taste.
the Criterion Collection, a 40-year-old company dedicated to “gathering the greatest films from around the world” and making high-quality editions available to the public on DVD and Blu-ray and, more recently, through its streaming service, the Criterion Channel.
The Criterion Collection, Inc. is an American home-video distribution company that focuses on licensing, restoring and distributing "important classic and contemporary films". Criterion serves film and media scholars, cinephiles and public and academic libraries. Wikipedia
Parent organization: Janus Films
Founders: Joe Medjuck, Robert Stein
Founded: 1984
Headquarters: New York, New York, United States
Number of employees: 40
Each year, Criterion selects 50 or 60 new entrants to add to its catalog, which now includes 1,650 films.
日本電影廣告 品牌故事 8 the Criterion Collection (1984創立，美國家庭影片通銷公司，每年選50~60部，現有約 1,650 部 “gathering the greatest films from around the world” and making high-quality editions available to the public on DVD and Blu-ray and, streaming service)：How the Criterion Collection became the film world’s arbiter of taste
0423 Peter Grille, Kuroshawa. 主角介紹 Criterion Collection 中日本電影選 反思Wim Wenders最近電影 “Perfect Days,” ... “komorebi”(means the play of sunlight ..)..."漫談"Donald Keene 譯/著的日本文學" 40 ；哥倫比亞大學的「唐納德・基恩中心」等同事 Peter Grilli 在日本 (代々木八幡宮) 神木憶交往 Shares Memories of Keene 。.鹿橋 《人子 》六《本木物語》..... 1972/1974/....... Parables of Sun Light By Rudolf Arnheim
反思Wim Wenders最近電影 “Perfect Days,” ... “komorebi”(means the play of sunlight ..)..."漫談"Donald Keene 譯/著的日本文學" 40 ；哥倫比亞大學的「唐納德・基恩中心」等同事 Peter Grilli 在日本 (代々木八幡宮) 神木憶交往 Shares Memories of Keene 。.鹿橋 《人子 》六《本木物語》..... 1972/1974/....... Parables of Sun Light By Rudolf Arnheim
https://www.facebook.com/hanching.chung/videos/994513875576760
But there’s something else here. It seems that Wenders’s eye, like Hirayama’s, snagged on the shadows. The canopies of trees are omnipresent in the film, seeping into Hirayama’s dreams at night, which Wenders renders in hazy black and white.
There’s a word in Japanese that transliterates to “komorebi” and refers to a phenomenon for which there is no single word in English: the quality of light as it filters through foliage. Hirayama’s life and mind are full of shadows, despite the sunlight he keeps reaching for. The light of komorebi is not full brightness — it is glistening, ever-changing, full of variation. Hirayama loves this, and he photographs it because the constant capture of what other people miss — the subtle shifts in the canopy every single day — are for him another indication of the trees’ vitality.[Tokyo] Yoyogi Hachimangu Shrine (代々木八幡宮)
PETER GRILLI is President of The Japan Society of Boston and a well-known specialist on Japanese history and culture. Raised in Japan for most of his childhood, he received BA and MA degrees in East Asian Studies from Harvard University. In Tokyo, he also studied at Waseda University and Tokyo University.
He worked as Senior Editor at Weatherhill in Tokyo from 1971-75 and Director of the Film, Education, and Performing Arts Programs at the Japan Society of New York, 1975-87. He later headed The Japan Project of PBS (1986-89), and subsequently operated an independent consulting office in New York, specializing on Japan-related media, corporate communications, and cultural exchange. From 1996-2000, he was Director of the Donald Keene Center of Japanese Culture at Columbia University.
In 2000, he was invited to become President of the Japan Society of Boston, the oldest of more than 40 Japan-America Societies in the U,S,.
In 2003, Mr. Grilli was awarded the Third Class Order of the Sacred Treasure by the Government of Japan in recognition of long service in cultural exchanges between Japan and the U.S. In 2009, he received the Shigemitsu Mamoru Award.
Mr. Grilli has written extensively on Japan for international magazines and newspapers, including The New York Times, Wall Street Journal, GEO, Asia Magazine, The Japan Times, and The Japan Quarterly. He is author of the books "FURO: The Japanese Bath" and "JAPAN IN FILM: A Comprehensive Catalogue of Documentary and Theatrical Films on Japan." As a documentary filmmaker he wrote or co-produced the films: "SHINTO: Nature, Gods and Man in Japan" (1978); "DREAM WINDOW: Reflections on the Japanese Garden" (1992); "TORU TAKEMITSU: Music for the Movies" (1994); and "KUROSAWA" (2001). As producer of Japanese classical and contemporary cultural events, he has been responsible for major U.S.tours of Kabuki, Noh, and Bunraku tours, as well as many other film, musical and theatrical programs from Japan.
【影片】《渡邊直美赴哥倫比亞大學演講》
由美國哥倫比亞大學舉辦、介紹日本文化的活動中，首次將「搞笑文化」納入主題。以紐約為活動據點的日本藝人渡邊直美，在活動中以英語演講，引起現場觀眾哄堂大笑。
哥倫比亞大學的「唐納德・基恩中心」，從30多年前開始舉辦各式活動來介紹日本文化，至目前為止曾邀請過知名的作家和藝術家。
#搞笑文化 #日本文化 #渡邊直美 #紐約 #哥倫比亞大學
👇更多訊息
https://www3.nhk.or.jp/nhkworld/zt/news/,
Peter Grilli, Long-time Friend of Donald Keene Devoted to Cultural Exchange between Japan, U.S. Shares Memories of Keene
The Japan NewsPeter Grilli during an interview at his childhood playground, Yoyogi Hachimangu shrine in Shibuya Ward, Tokyo, on April 10
By Futoshi Mori / Japan News Senior Writer
11:35 JST, April 20, 2024
Peter Grilli, a writer, documentary filmmaker, and former President of the Japan Society of Boston, was a good friend of Donald Keene’s for over half a century. He has made many significant contributions to cultural exchanges between Japan and the U.S., including various events he conducted as the Director of the Donald Keene Center at Columbia University in the 1990s. While Grilli was visiting Japan for the first time in five and a half years, I interviewed him on a day that cherry blossoms were at full peak about his memories of Keene and the current state of cultural exchange between the two countries.
Peter Grilli showing the location of his former house on the residential information board in front of Yoyogi Hachimangu shrine
Yoyogi Hachiman shrine, an important location for director Wim Wenders’ recent film “Perfect Days”
Stone stairs leading up to Yoyogi Hachimangu shrine
Our meeting place was Yoyogi Hachimangu shrine in Shibuya Ward, Tokyo. Grilli had suggested that we meet at the shrine, and there was a reason for that. The grounds of the shrine appear as an important location in Wim Wenders recent film “Perfect Days,” and when Grilli saw the film he instantly recognized the location as a favorite spot from his childhood in Tokyo. The 81-year-old Grilli had lived nearby for two years beginning in 1948, when he was five years old, and the shrine was his beloved playground. Grilli, who calls this trip a sentimental journey, wanted to return to the place of his childhood memories.
As we climbed the stone steps leading up to the main shrine, he said, “In the film, there is a scene where the lead actor, Koji Yakusho, sitting on a bench here at Hachimangu shrine, looks up at the trees and says, ‘These trees are my friends.’ When I saw that, I thought, ‘That’s exactly what I used to think.’ The same trees are still here, and they are still my friends.” The house nearby where he had lived with his family is now the Embassy of Vietnam.
Reaching Ordinary People
Peter and Susan Grilli, at dinner at Donald Keene’s home in Tokyo on October 25, 2017. (Courtesy of Peter Grilli)
Peter Grilli and Donald Keene at the Shigemitsu Mamoru Award ceremony in Tokyo, December 2012. (Courtesy of Peter Grilli)
“I think I first met Donald Keene in Japan, but I don’t remember exactly. I was never Donald’s student,” Grilli began to speak, sitting on the same bench where Yakusho sat in the movie. Starting from 1995, when Grilli became Director of the Donald Keene Center at Columbia University, the two met almost daily in New York while Keene was there for six months every year. “We talked about ordinary things, not so much about Japanese literature. We talked mostly about music, opera, cooking and occasionally a little bit about literature, too.”
The Center had been founded in 1986 by Barbara Ruch, a former student of Keene’s and herself a professor at Columbia University, with the aim of extending understanding of Japanese culture beyond the academic world to the broader American public.
During his five years as Director of the Donald Keene Center, Grilli presented many concerts, films, symposia and public performances. One example was a big international symposium about Chikamatsu Monzaemon (1653-1725), the great Edo period (1603-1867) playwright, inviting well-known Japanese professors, filmmakers, actors and theater professionals who had specialized in Chikamatsu’s plays. “Donald loved that kind of thing,” Grilli recalled. “Early in his own academic career, he had studied and translated many of Chikamatsu’s plays, and throughout his life he had a special love for the bunraku puppet theater. He was unquestionably a great professor and translator and he did superb academic work as a scholar. But he was also deeply interested in how ordinary people perceived Japan. His books, and research are of course essential studies of Japan, but he also wanted ordinary people to read them and come to understand and appreciate Japanese culture. In that way, I think Donald was quite unusual.”
Grilli felt a similar sense of responsibility to the general public. That is why Grilli was determined to share his own love of Japanese films, music, kabuki, bunraku, and other popular Japanese arts with American audiences. Earlier in his own career as a program director at the Japan Society of New York, Grilli had produced major presentations of Japanese arts to large public audiences.
Broader Cultural Relationships
During the interview, visitors to the shrine came one after another to the sacred tree on the shrine grounds, embracing the tree and praying.
Peter Grilli buying traffic safety amulets at the shrine
“Donald was a giant!” Grilli recalled of Keene’s many accomplishments. “He did so much. Many of his books were written for ordinary people, in a style that is fairly easy to read. In that sense, his role was very extremely important.”
Grilli commented that Japanese studies in the U.S. are now in their third or fourth generation. Keene was a leader of the first postwar generation, together with Edwin O. Reischauer, Edward Seidensticker and a few others. They were the pioneers, followed by a second generation that learned from them, and now it is time for a new generation of writers and scholars, to carry forward their work.
The pioneering Keene wrote the following message in a 2013 tribute book honoring the achievements of Peter Grilli, his friend and colleague.
“It doesn’t seem possible, but I think I have known Peter for fifty years. The difficulty in recognizing this fact comes from his not having changed either in appearance or enthusiasms. His constancy shows in his love for the classics of music: even works he has heard countless times, he still hears with excitement. His unfailing taste enables him also to discover and enjoy what is of genuine worth in the new.”
Grilli moved to Boston in 2000 and became President of the Japan Society of Boston, where he has devoted himself to cultural exchange between Japan and Boston. The Japan Society of Boston is the oldest Japan Society in the U.S., celebrating its 120th anniversary this year. John Manjiro (Nakahama Manjiro), the famous Japanese fisherman who, in 1841, was rescued by an American whaling ship after being lost at sea in the Pacific Ocean, later arrived in the U.S., and lived near Boston, Massachusetts, where the Japan Society of Boston is located. The Museum of Fine Arts, Boston and the Peabody Essex Museum of Salem also have renowned collections of Japanese fine arts as well as the everyday items of Japanese commoners during the Edo and Meiji eras (1868-1912), collected by Edward Morse, who discovered the well-known Omori Kaizuka Shell Mounds archaeological site.
During my interview with Peter Grilli, I felt his warm personality and passion for Japanese culture. Similarly, Donald Keene wrote this message in the tribute book.
“Peter is a great collector, not so much of recordings of music as of people. His warmth and concern for others makes friends even of strangers. I know no one who has as many friends in Japan and that must be true of Boston as well.”
As we sat talking quietly at Yoyogi Hachimangu shrine, we noticed a visitor embracing a large sacred tree in the vicinity of the shrine, across the way from our bench. She seemed to be praying to the tree, and Grilli gazed at her intently.
“It’s interesting,” he said. “How traditional cultural values seem to be preserved in such places.” And then, he continued: “The opportunities for cultural exchanges are much greater now between Japan and other countries. For example, just consider the JET program, where young people come and teach in local Japanese communities spending two or three years. They go back to their native countries, where some of them — remembering their friendships in Japan — continue to work in Japan-related businesses or in Japanese studies. That’s a vital new kind of relationship which, I am sure, will become increasingly important in the future.”
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