Hesse 荒野狼"Steppenwolf" is a novel by German-Swiss author Hermann Hesse, first published in 1927.

 

"Steppenwolf" is a novel by German-Swiss author Hermann Hesse, first published in 1927. The novel delves into the inner turmoil of the protagonist, Harry Haller, who is known as the Steppenwolf. The story portrays his struggle with the duality of his nature, torn between the impulses of savagery and the constraints of polite society. Through the character of Harry Haller, Hesse explores themes of alienation, existential angst, and the search for meaning in a rapidly changing world.

The novel is renowned for its masterful structure and intense writing style, which has contributed to its status as a cult classic. "Steppenwolf" has been widely acclaimed for its profound exploration of the human psyche and its ability to resonate with readers across generations. The novel's enduring popularity is a testament to its timeless relevance and its ability to captivate audiences with its introspective and thought-provoking narrative.

Hermann Hesse, born in 1877 in Germany and later becoming a citizen of Switzerland, was profoundly influenced by the mysticism of Eastern thought. He wrote novels, stories, and essays that bear a vital spiritual force, capturing the imagination and loyalty of many generations of readers. Hesse was awarded the Nobel Prize in Literature in 1946 for his significant contributions to literature.

"Steppenwolf" continues to speak to the souls of readers and is recognized as a classic of modern literature. The novel's wisdom and its exploration of the complexities of human existence mark it as a timeless work that continues to inspire and provoke contemplation.

Robert Dousneau

 Robert Doisneau, one of the most revered photographers of the 20th century, captured the spirit of post-war France like no other. His work, particularly in the 1950s, embodies a distinct combination of realism and whimsy, often depicting everyday life with a touch of humor or romance. A 1957 photograph by Doisneau, taken in France, encapsulates his signature style, blending the ordinary with the extraordinary. This particular year was significant in Doisneau's career as he had firmly established himself as a master of street photography, known for his keen eye for the human condition and his ability to freeze moments in time that felt both fleeting and eternal.

By 1957, Doisneau was well into his career, having already produced some of his most iconic images, such as Le Baiser de l'Hôtel de Ville (The Kiss by the Town Hall) from 1950. His photographs from the late 1950s reflect a France that was moving past the scars of World War II and into a new era of optimism, growth, and cultural vibrancy. The post-war years had transformed the social landscape of France, and Doisneau’s work often captured the changing moods of the time—juxtaposing the hardship and resilience of the working class with the blossoming energy of the young, modern Paris.

The 1957 photograph, like much of Doisneau’s work, is likely a scene of ordinary people, set against the backdrop of Parisian streets, cafés, or public spaces. Doisneau’s genius lay in his ability to see the beauty in the mundane. His subjects were not celebrities or models but everyday Parisians—lovers, children, workers, and passersby, all caught in the spontaneous act of living their lives. This particular image would have been no exception. Whether it depicts a tender moment between two people, a playful interaction, or a solitary figure lost in thought, the image would offer a glimpse into the soul of mid-century Paris, a city that was at once timeless and in flux.

Doisneau’s photographs from this period are also marked by his distinctive use of light and shadow. In many of his black-and-white images, the interplay between light and dark adds depth and drama to the scene. The 1957 photograph likely features this mastery of contrast, drawing the viewer’s eye to the focal point of the image while allowing the background to fade into a dreamy blur. This technique, coupled with his talent for composition, gave Doisneau’s work a cinematic quality, as if each photograph was a still from a larger story unfolding just beyond the frame.

Doisneau’s work was often compared to that of Henri Cartier-Bresson, another giant of street photography, but while Cartier-Bresson emphasized the “decisive moment”—the idea that a perfect photograph captures a split second in time—Doisneau was more interested in the emotional narrative of his subjects. He sought to capture the warmth, humor, and humanity in everyday life. His 1957 photograph, whatever the subject, would likely reflect this sensibility, offering a window into the quiet joys and sorrows of ordinary people.

The late 1950s in France were a time of change and reconstruction. The country was moving away from the devastation of the war years and into a period of economic growth, known as the Trente Glorieuses (The Glorious Thirty), which spanned from 1945 to 1975. During this time, France experienced rapid industrialization, urbanization, and the rise of consumer culture. Doisneau’s photographs from this era often captured the contrast between the old and the new, showing a Paris where tradition and modernity coexisted in delicate balance. His images of street vendors, market scenes, and old-fashioned cafés stand alongside pictures of sleek new cars, modern architecture, and fashionable youth, highlighting the tension and harmony between past and present.

Doisneau’s connection to his subjects was deeply personal. He often spoke of his love for the people of Paris, particularly those on the fringes of society. He was drawn to the working class, the marginalized, and those who lived on the periphery of the city’s glamorous image. In 1957, Paris was a city of contrasts—while the wealthy enjoyed the burgeoning consumer culture, many Parisians still struggled with poverty, housing shortages, and the remnants of war. Doisneau’s photography reflects this complexity, showing the city in all its facets: the joy and the hardship, the beauty and the grit.

One of the recurring themes in Doisneau’s work is love, and it’s possible that the 1957 photograph captures one of the many romantic encounters he is famous for depicting. Paris, the city of love, provided an endless array of opportunities for Doisneau to photograph couples in tender moments of intimacy. His images of lovers kissing, holding hands, or simply sitting together in a café have become iconic representations of the city’s romantic allure. But Doisneau’s portrayal of love was never saccharine or idealized. His lovers are often ordinary people—young couples stealing a kiss on a park bench or middle-aged partners sharing a quiet moment—captured with a sense of authenticity and respect for the realities of relationships.

In addition to love, Doisneau’s work often explored themes of childhood and play. His photographs of children playing in the streets, chasing each other through the alleys or engaging in imaginative games, are some of the most joyful and carefree images in his oeuvre. These pictures evoke a sense of nostalgia for a simpler time when children roamed freely through the city, creating their own adventures. If the 1957 photograph includes children, it likely reflects Doisneau’s ability to capture their energy and innocence, turning the everyday moments of childhood into something magical.

Doisneau’s photographs also have a subtle political edge. While not overtly political, his images often highlight the disparities in French society, particularly the divide between the rich and the poor. He was a keen observer of social injustice, and many of his images document the lives of the working class with empathy and dignity. In a time when France was experiencing rapid economic change, Doisneau’s photographs serve as a reminder of those who were left behind in the race for progress.

In conclusion, Robert Doisneau’s 1957 photograph represents a moment in time, frozen by the lens of a photographer who had a profound understanding of the human experience. His ability to capture the beauty, humor, and complexity of everyday life made him one of the most important photographers of his generation. Whether the image depicts a romantic couple, playful children, or solitary figures lost in thought, it speaks to the timeless quality of Doisneau’s work. His photographs continue to resonate with audiences today, offering a window into a world that, while long gone, still feels intimately familiar.

#robertdoisneau #1950sphotography #streetphotography #frenchphotography #parisianlife #blackandwhite #midcentury #documentaryphotography #classicphotography #timeless

雪舟 天橋立 臥遊 石頭出版社

 #Theday 跟著小川裕充老師「臥遊」🛩天橋立

　　

招牌姿勢擺好、準備一飽「天橋立」絕景的遊客，被旁人開玩笑 (?) 一拍，滾落到山谷底😱……早先的這則意外新聞，大家還有印象嗎？

　　 

天橋立 (あまのはしだて Amanohashidate)，指的是位於日本宮津市宮津灣的特殊自然景觀，因地殼的推擠作用，而在海面上形成的沙洲地形。

　　

專屬的賞景姿勢，則源自於人們都說，若站在沙洲南、北兩端地勢較高的山頭，背對沙洲站立，再彎下腰，從自己的跨下往後望，就能見到沙洲猶如一道斜向通天之橋的絕景 (這也正是「天橋立」一名的由來)。

　　

若你想欣賞絕景但又不想出意外 (大誤😝)，不妨跟著小川裕充老師的腳步，改從中、日繪畫史和交流史的角度，「臥遊」日本畫家雪舟 (1420-1506) 的名作《天橋立圖》吧～

　　

📖 參引自：〈雪舟　天橋立圖〉

✨《臥遊：中國山水畫的世界》✨

📗 作者：小川裕充 (日本東京大學名譽教授)

📗 2017年1月初版 / 精裝+書盒 / 8開 (25.7 x 36.4公分) / 448頁 / 定價960元

📗 彩圖136幅、黑白400餘幅 / 本文約8萬字、本論約15萬字

📗 石頭出版社

★ 本書日文原版榮獲2009年度國華賞

　　

#世界旅遊日 #一二遊 #天橋立 #大師說畫 #小川裕充 #書畫找定位 #交流觀察 #雪舟 #水墨畫 #風格大補帖 #不傷身 #但燒腦 (?)

#明天教師節 #向辛苦的老師們致敬！

一生早安 Julie Andrews 88

 Dame Julie Andrews is looking great at 88. The Mary Poppins and Sound of Music actress 🌹

秋分後，下了幾場雨。

雨常落在夜晚，清晨就非常晴朗。

蔚藍的高曠天空，長雲任意逍遙。

綠色的稻穗，也許因為幾場秋雨，很快抽長，都有五十公分左右了，歡欣隨風搖著越來越飽滿的稻穗。

如果心裡被什麼堵塞著，不開朗，不愉快，就來池上和這樣的寬闊天空說：早安，和綠色的大地說：早安，和自由自在的雲朵說：早安-，和清新的空氣說：早安，和明亮的陽光說：早安⋯⋯

和不浪費生命的美好秋天說：早安-⋯⋯

和一定可以愛自己的清晨說：早安！

。。。。

窮極一生，追求的是什麼？

作者：賴勝源

七十好幾了，最近我常在想，根據統計，只有44%的人可以活到我這年紀，那我還在憂愁什麼、煩惱什麼？

早上吃飯時，會不慎把湯汁抖在身前、掉在桌上，老婆追著擦、跟著唸；那已經唸了五十年的嘮叨，雖然被當小孩訓很火大，但想想能被唸還有幾年？

吃顆花生，能把皮屑掉得滿客廳，被唸是正常的，但回想想，還有多少同學能口嚼花生、樂啃甘蔗？就不禁又露出微笑。

這世上七十五年來，有太多得與失，不能什麼都圓滿，但有一個讓我樂淘淘的、能被唸的老婆，其實是種幸福。

昨天從醫院的交通車下來就摔了一跤，讓司機很緊張，覺得非常抱歉，下次得暫停等不暈眩、有平衡感了才移動下車。

七十和六十、六十和五十都不一樣，別逞能了。

梁實秋先生說，過了五十，就覺得人一年不如一年；過了六十，就感到一月不如一月。

過了七十，就深覺一日不如一日；過了八十，那就一時不如一時了！

唉！深得我心哪！等過了九十，我再和大家談談今而如何？老婆還嘮叨不？

1、我們窮極一生，到底在追求什麼？

人生本就是不斷去感受、去體驗，請記住，人生就是各種意義的疊加。只要你想，你就可以做那些看似無意義的事，比如發呆、看日出、數星星，你的體驗就是最大的意義。

人生是曠野，不是軌道；只要你當下是享受的，那就是有意義的。

2、短暫的一生，百年之後，沒你也沒我。我們拼搏一生，帶不走一磚一瓦，我們執著一生，帶不走一絲愛恨情仇。

所以，我們沒有時間去爭吵、去傷心、去斤斤計較，我們只有時間去愛，去享受，一切稍縱即逝，只有活在當下最重要。

3、小時候覺得忘帶作業是天大的事，高中的時候覺得考不上大學是天大的事；戀愛的時候覺得和喜歡的人分開是天大的事。

但現在回頭看看，那些難以跨過的山，其實都已經跨過了。以為不能接受的，也都接受了。生活充滿了選擇，遺憾也不過是常態。

大家都心知肚明，就算時間重來一次，以當時的心智和閱歷，還是會做出同樣的選擇。

回頭看，輕舟已過萬重山；向前看，前路漫漫亦燦爛。

4、有的人二十幾歲就死了，有的人90多歲還活著；有人一瞬間就失去了生命，有人在床上躺了10年才離開人世。

高學歷的在送外賣，沒學歷的在當老闆；漂亮的人四五十歲了還單身，而醜的人早就結婚生子。

有本事的人一年也見不到父母幾回，平凡的人享受一輩子闔家團圓。

有人抽菸喝酒活到老，有人努力工作，年少猝死。

什麼是對的，什麼又是錯的？沒有標準，你的心才是標準。

數字擺在眼前時，突然覺得人生真的好短暫，人生無法重來，趁還有時間，去愛你所愛、去追求所求，去享受去踏遍萬水千山！

5、如果你要問我人生的意義是什麼? 那我會告訴你：

99%的人三代以後，時間會抹平你存在的一切痕跡。

所以，

人生的意義就是你活著這短短的幾十年體驗，它就是生命中的全部意義所在。

千萬不要因為一點雞毛蒜皮的小事就煩惱，更不要拿別人的錯誤來懲罰自己。

明天和意外，也不知道哪一個會先到來；世事無常，一覺醒來是一天，一覺醒不來便是一生！

我們所能做的就是，請用心的去品嚐每一頓飯菜；用心的去欣賞每一處花開；用心去觀賞每一處的風景；用心去完成每一分責任，用心去感受當下每一次愛和每次喜悅。

6、幸福是什麼？ 其實幸福很簡單，只有9個字：「有家回，有人念，有飯吃。」

所謂歲月靜好，不過是家中的那碗熱湯，和始終為你點亮的那盞燈。

7、人生總有太多的來不及，一眨眼就是一天，一回頭就是一年，一轉身就是一輩子。

我們窮盡一生所追求的幸福不在過去，也不在未來，而是活在當下,好好把握～～

Robert Frost. Out of Time: The Pleasures and the Perils of Ageing by Lynne Segal

“Some say the world will end in fire,

Some say in ice.

From what I've tasted of desire,

I hold with those who favor fire.

But if it had to perish twice

I think I know enough of hate

To say that for destruction ice

Is also great

And would suffice.”

― Robert Frost

(Book: https://amzn.to/3WDigkC)

劉進興分享了 Ku Bauman 的相片。

多麗• 萊辛的《特別的貓》
超級好看！

 作家Doris Lessing活了94歲。談到老年，她說：「年紀一大把足堪告白的秘密是－你只有形骸變化，其實啥都沒變。」老舊的皮囊羈囿不住狂騷的靈 魂；Lessing內力旺盛，筆鋒遒勁妙文不絕。人屆晚年，流年似水沾絲晦暗，故舊逐一離座，傷懷與孤獨感如暮靄四合，可憤青的老後，卻未曾氣短。

專研女性情慾的英國基進女性主義者Lynne Segal，本身也是心理學家，觀察到－少人能主動知覺自己年歲的老邁，這是aging神奇之處---這種心理與肉身的錯位感會尾隨歲數而累增。 Segal邁入初老近期就寫下Out of Time: The Pleasures and the Perils of Ageing 一書，想搞懂age gracefully意所何指？她探索很多創作、文化與學術作品剖析暮年的尊嚴、優雅與奧秘。
Segal 提到「社會高齡化」滋生的政經副作用是－世代敵意，上世代人容易成為替罪羔羊－尤其嬰兒潮世代，社會利益全佔盡吃乾抹淨，剩餘一個坑疤殘破的社 會強迫年輕人買單。而保守歐美政客藉機操弄年齡歧視，轉移選民對官商勾結、公共政策不作為之失能政權的監督與批判。上了年紀，Segal火氣稍歇，也無意 在新著頂撞時局，反現觀審老年意義的抒情慢板。她在Simore de Beauvoir的著作尋找靈感。Beauvoir 半百時，愛侶Sartre琵琶別抱另尋新歡，才女宛如落衰棄婦，但Beauvoir谷底生命逆轉勝---她結交新戀人，更積極投身文壇社運，出走大男人陰 影自己活出一片天，成就哲學家Beauvoir。Segal 書末留下一段話：” If old age is not to be “an absurd parody of our former’ life,” it is essential to “go on pursuing ends that give our existence meaning”, such as devotion to other people, causes and creative work. This may well be the secret to enjoying life at any age.”

Out of Time: The Pleasures and the Perils of Ageing, by Lynne Segal – review

Lynne Segal offers a powerful manifesto for dealing with the march of time

• 
• • Yvonne Roberts
  • The Observer, Sunday 1 December 2013

Lynne Segal’s account of ageing contrasts sharply with that of Simone de Beauvoir, above, who published an anguished memoir about growing old when she was in her 60s. Photograph: Sipa Press/Rex

The mighty Simone de Beauvoir published Old Age in 1970, when she was in her early 60s. A troubled, anguished and angry testimony, it detailed her profound dismay at the sagging of the body; the loss of looks (her own and the admiring glances of others), the absence of desire and the unwilling and uncomfortable contemplation of mortality. Not for her the basic philosophy of Woody Allen: "Old age isn't so bad, when you consider the alternative."

1. Out of Time: The Pleasures and the Perils of Ageing
2. by Lynne Segal
3. 

1. Tell us what you think: Star-rate and review this book

In contrast, Lynne Segal's thoughtful analysis of ageing offers a far more combative, zestful approach. It asks: when suffering from "temporal vertigo", absorbing at once all the ages you have ever been, and dealing with the inevitable loss of loved ones, how do you accept the physical ravages and build on the experiences of the past, to live fully in the present? What does it mean to age well?
Segal, now in her 60s, is a socialist feminist and anniversary professor of psychology and gender studies at Birkbeck College, University of London. For the past 30 years, she has fearlessly taken on some of the loopier ideas of feminism and contributed significantly to a more optimistic agenda for sexual politics. In books such as Is the Future Female?, Slow Motion: Changing Masculinities, Changing Men and Straight Sex: The Politics of Desire, she challenged the kind of essentialism that believes that women are somehow "nicer" than men and that, as sections of the sisterhood argued, men are incapable of change.
Social conditioning is, obviously, particularly potent when it comes to the business of growing old. And here is Segal's first challenge. Whom does she define as old? "Late midlifers"? "Early elderly"? At what point does an individual cease being surprised at the wrinkled, chipmunked face in the mirror and begin the period of critical self-reflection that surely must be one of the perks of ageing? What's certain is that the number of years that have passed is no guide in itself; as the writer Penelope Lively says in Moon Tiger: "Chronology irritates me."
Madonna wearily refuses to age, while women are now bearing children in a decade when their mothers were ploughing through the menopause. Old age for Dante began at 45; for Hippocrates, it meant the 50s. Now, 10 million Britons are over 65 and soon centurions will be the norm.
How we age is influenced by society's attitudes and currently "youthism" reigns, but it is also dictated by events in the shape of disease, desertion and unexpected isolation and deprivation. A fifth of those over 65 live in poverty, the majority of them women.
Segal's book is worth buying alone for the vim with which she sees off the "dim-witted" arguments of coalition minister David Willetts and historian Francis Beckett, among others, who insist that the baby-boomers have stolen all the booty and forfeited their children's future. Neoliberals, not the baby-boomers, have done the damage, Segal argues, and there are better ways to share the diminished spoils – a tax on corporate wealth, for one.

To help construct her guide for a "good" old age, Segal calls on an army of poets, writers, academics and activists, perhaps too many, when it's her voice the reader may seek. Her recommendations include remaining politically active (she quotes the inestimable John Berger, in his 80s: "…one protests… in order to save the present moment, whatever the future holds"); valuing interdependency; treasuring connections with those who are younger; seeking out joy and ignoring all instructions to opt for invisibility and celibacy.

Until her 40s, Segal and her son lived in a collective in her large house in north London. Then she cohabited more conventionally with her male partner; she was 15 years older and he left her for a younger woman. Now, she has a female partner. Segal quotes from June Arnold's novel, Sister Gin, in which Su, in her 50s, falls for Mamie, a woman in her 80s. "My darling's face has been walked on by life," Su says, as a valediction, not a complaint.
Most of the cast that Segal rallies to explore her theme share an experience of beauty and/or fame, among them the poet Robert Frost ("No memory having starred/ Atones for later disregard/ or keeps the end from being hard"). The majority of those growing older will face other challenges. For millions, especially, perhaps, feminists, paid work, a career, has played a significant part in providing motivation and in forging an identity. Will retirement mean an erosion of a core sense of self? Or, looking back, is it possible to build on aspects of yourself you were never encouraged to value?
Segal quotes the remarkable Lou Andreas-Salomé, who, among her many achievements, became a psychoanalyst after the age of 60. "All my life I have done nothing but work," she said, near death. "And really, when you come to think of it… why?"
A question that could revolutionise ageing and that deserves an answer long before one runs out of time.

Bob Dylan. Hugo 傳兩種版本。中國大學出版社的特色

 

Oh, the ragman draws circles

Up and down the block

I’d ask him what the matter was

But I know that he don’t talk

And the ladies treat me kindly

And furnish me with tape

But deep inside my heart

I know I can’t escape

Oh, Mama, can this really be the end

To be stuck inside of Mobile

With the Memphis blues again

Well, Shakespeare, he’s in the alley

With his pointed shoes and his bells

Speaking to some French girl

Who says she knows me well

And I would send a message

To find out if she’s talked

But the post office has been stolen

And the mailbox is locked

Oh, Mama, can this really be the end

To be stuck inside of Mobile

With the Memphis blues again

Mona tried to tell me

To stay away from the train line

She said that all the railroad men

Just drink up your blood like wine

An’ I said, “Oh, I didn’t know that

But then again, there’s only one I’ve met

An’ he just smoked my eyelids

An’ punched my cigarette”

Oh, Mama, can this really be the end

To be stuck inside of Mobile

With the Memphis blues again

Grandpa died last week

And now he’s buried in the rocks

But everybody still talks about

How badly they were shocked

But me, I expected it to happen

I knew he’d lost control

When he built a fire on Main Street

And shot it full of holes

Oh, Mama, can this really be the end

To be stuck inside of Mobile

With the Memphis blues again

Now the senator came down here

Showing ev’ryone his gun

Handing out free tickets

To the wedding of his son

An’ me, I nearly got busted

An’ wouldn’t it be my luck

To get caught without a ticket

And be discovered beneath a truck

Oh, Mama, can this really be the end

To be stuck inside of Mobile

With the Memphis blues again

Now the preacher looked so baffled

When I asked him why he dressed

With twenty pounds of headlines

Stapled to his chest

But he cursed me when I proved it to him

Then I whispered, “Not even you can hide

You see, you’re just like me

I hope you’re satisfied”

Oh, Mama, can this really be the end

To be stuck inside of Mobile

With the Memphis blues again

Now the rainman gave me two cures

Then he said, “Jump right in”

The one was Texas medicine

The other was just railroad gin

An’ like a fool I mixed them

An’ it strangled up my mind

An’ now people just get uglier

An’ I have no sense of time

Oh, Mama, can this really be the end

To be stuck inside of Mobile

With the Memphis blues again

When Ruthie says come see her

In her honky-tonk lagoon

Where I can watch her waltz for free

’Neath her Panamanian moon

An’ I say, “Aw come on now

You must know about my debutante”

An’ she says, “Your debutante just knows what you need

But I know what you want”

Oh, Mama, can this really be the end

To be stuck inside of Mobile

With the Memphis blues again

Now the bricks lay on Grand Street

Where the neon madmen climb

They all fall there so perfectly

It all seems so well timed

An’ here I sit so patiently

Waiting to find out what price

You have to pay to get out of

Going through all these things twice

Oh, Mama, can this really be the end

To be stuck inside of Mobile

With the Memphis blues again  

                                                                                                                                                                                                                                                      --"Stuck Inside of Mobile with the Memphis Blues Again" (Blonde on Blonde, l966)

“Even the darkest night will end and the sun will rise.”

― Victor Hugo, Les Misérables

廖志峯。索爾孟。洪文，杜祖健

 能在自己出生的故鄉出書，讓我感到無比喜悅。

在台灣生活二十四年，在美國住了六十六年，對我而言，兩地都是我的故鄉。

十三個半小時的飛行，

靠窗座位，

不好跨過兩位阿姨，

只好少喝水，

上兩次廁所，

就是為了此刻的雲上曙光。

終於抵達維也納機場，

上次來是2006年七月，

接連見索爾孟、洪雯倩，

出版了美國製造、傾聽，

沒想到十多年過去了。

又來歐洲了。

謝謝各位朋友的祝福。

------

這次在台灣出版的自傳，基本上是以我在二○○九年出版的英語自傳Nomadic Academic Life of a Professor（《一個教授的遊牧學術生涯》）為底稿增補而成......，還新增了一些我近年來發表在歷史雜誌《榕樹文化》的文章。

我的人生大致可分成以下兩大階段：

一、一九三○年出生至一九五四年離開台灣的二十四年。

二、一九五四年離台至今在美國生活的六十六年。

------

第一個階段有幾件事值得一提。我讀幼稚園時就知道自己是台灣人。一九四一年日軍偷襲珍珠港，太平洋戰爭開打，對我衝擊很大。接下來更直接面臨時代的巨變：戰爭結束後，台灣被返還給中華民國。

終戰前，沒有人知道台灣會被返還給中華民國。所以一九四五年當時，台灣人知道可以從此脫離日本的殖民地統治，回到「祖國」（中華民國）懷抱，都非常高興，熱烈歡迎中國軍隊和官員來到台灣。

------

然而，這種興高采烈之情不到一年半就消失殆盡了。戰前台灣是日本的殖民地，台灣人的地位低下，所以大家都認為既然回歸「祖國」了，從此就可以做自己的主人，為中國也為台灣盡心盡力。

但從中國大陸來台的國民黨集團裡，許多人充滿貪慾，不到兩年，台灣人對中國的熱情就完全冷卻了。而彷彿是反映這種熱情的冷卻般，一九四七年二月發生了不幸的「二二八事件」，台灣人遭到國民黨軍的大量屠殺。

我在台灣最好的大學台灣大學攻讀化學，一九五四年留學美國。

本來因為父母都留學日本，也想去日本唸書，但當時台灣與日本之間尚未締結和平條約，我無法前往日本留學，所以決定去美國唸書。（譯註：一九五一年日本與二戰各國簽署《舊金山和約》，中華民國與中華人民共和國均未能參與。一九五二年《舊金山和約》生效前，台灣方面才緊急與日本締結了日華和約〔中日和約〕。）

------

至於第二階段的人生，因時間長達六十六年，所以又可再細分為兩階段：從留學生到修完碩博士學位、做博士後研究這個求學階段，以及在美國的大學任教至今的階段。

我的專業在蛇毒研究，主要對象是海蛇毒與美國的響尾蛇毒。進行研究期間，常被邀請到世界各國演講或提供諮詢，沒過多久就開始擔任顧問，協助美國政府處理毒物問題。

一九八三年，美國發現蘇聯使用天然毒素製造有毒武器，大為吃驚。今天我之所以能到世界各國演講如何預防恐攻，就是因為我長期協助美國政府，自然而然就學到了更多的相關實務。

擔任他人的諮詢工作，自己往往也能同時從中學習。不過我後來能夠深入參與恐攻對策，還是得從奧姆真理教的東京地鐵沙林事件說起。

------

我在台灣和美國都接受了良好的教育，因而能從事各種研究與相關工作。此外，我至今能有些許地位或名聲，都必須感謝父母溫柔的教導與妻子的內助之功。

當年的台灣相當貧困，後來的發展卻相當驚人，現在已經是個優質良好的社會了，讓我由衷感到喜悅。（文/摘錄自 #奔流的樹葉/#杜祖健與毒物共舞的人生）

延伸閱讀

#毒物專家看台灣與世界

#杜祖健

出生於台北，是台灣第一個醫學博士杜聰明的三子。

曾經就讀台北市樺山小學校和台北一中（今建國中學前身）。台灣大學化學系畢業後前往美國聖母大學、史丹佛大學、耶魯大學學習化學和生物化學。

之後任教於猶他州立大學、科羅拉多州立大學。一九九八年成為科羅拉多州立大學的榮譽教授。二○○四年到日本千葉科學大學擔任客座教授。

是國際知名的毒物學、生物兵器、化學兵器權威。喜歡演奏鋼琴。

在日本奧姆真理教沙林毒氣事件中，曾經協助日本警察當局解析沙林毒氣的科學證據。

尼采可以進一步講志文與尼采 我是炸藥 浮士德博士 lean and green best practice

▋《我是炸藥：尼采傳》

作者：蘇．普莉朵｜譯者：邱振訓｜9/19 上市

⠀

★ 榮獲豪森登獎、泰晤士報年度傳記

⠀

■「我知道自己的宿命。總有一天，一提到我的名字就會聯想到某種恐怖的東西——我不是人，我是炸藥。」

⠀

撼動西方的哲學家—弗里德里希．尼采，他所提出的超人哲學、上帝已死、奴隸道德……深深影響了後世，其文字如同炸藥一般，引發了西方思想世界的震盪。在德意志帝國對外征伐的同時，尼采就已先預見了日耳曼精神中的虛無、墮落的信仰。他試圖破除偶像、重估一切價值，在他之後的思想家、藝術家，無不受到其影響。

⠀

■「一想到哪天要是有不夠格、不合適的人拿我的名義招搖撞騙，我就怕得要死。」

⠀

尼采是歷史上最常被誤解的哲學家之一。由於妹妹伊莉莎白刻意改寫，讓他的作品經常被誤讀或濫用，甚至與尼采反對的軍國主義掛勾。在本書中，蘇．普莉朵企圖將尼采從模糊的謠言和誤讀中解放，重新給予公正的描述與評價。書中勾勒出比以往都更接近真實的尼采，深刻地揭示了這位哲學家生命中影響深遠的人物及他不同時期的歷程，讓這位偉大的哲學家不再遙不可及，而是充滿矛盾、激情與人性。

⠀

■「我來教你們，如何成為超人」

⠀

尼采的一生，飽受病痛折磨，每次病痛就是一次考驗，每次復元都是一次價值重生。但他的精神能如駱駝般負重、成為獅子追求自由、化身孩童執行意志。尼采的精神與思想並不隨著癲狂而逝去，反而隨著著作永存。正如他所標榜的：我們必須要成為我們自己，接受生命帶來的一切，才能夠超越自己，成為超人。

⠀

- -

⠀

◆ 作者：蘇．普莉朵（Sue Prideaux）

英裔挪威小說家和傳記作家，其家族與畫家愛德華．孟克有著深厚聯繫。她的前二部傳記著作分別是《愛德華．孟克：吶喊之後》、《史特林堡傳》。第三本傳記《我是炸藥：尼采傳》進一部探討了對孟克、史特林堡都影響深遠的尼采，可謂是前兩本傳記的溯源，追索了藝術背後的人文思想精神。本書亦榮獲豪森登獎及《泰晤士報》年度傳記。

⠀

◆ 譯者：邱振訓

國立臺灣大學哲學博士，研究專長為倫理學、道德心理學。譯有《這一切究竟是為什麼》、《窮查理年鑑》、《衝浪板上的哲學家》、《尼采會怎麼做》等書。

⠀

《我是炸藥：尼采傳》

2024/09/19 上市

⠀

聯　經｜https://linkingthink.com/L178176

博客來｜https://linkingthink.com/B178176

誠　品｜https://linkingthink.com/E178176

金石堂｜https://linkingthink.com/K178176

⠀

【電子書】

Readmoo｜https://linkingthink.com/RE178176

⠀

══ 國內外好評推薦 ══

這正是每一本傳記應該具備的樣子──引人入勝、聰明睿智、感人至深，時而非常幽默，並充滿了對非凡生命的洞察與銳利的觀察細節。

──莎拉．貝克威爾（Sarah Bakewell），《存在主義咖啡館》（At the Existentialist Café）作者

⠀

這是自一八八九年尼采在都靈廣場上失去理智並擁抱一匹馬以來，迫切渴望的傳記。普莉朵以平靜而穩定的光芒，照亮了這位最為燦爛的哲學詩人，並帶來了啟發性的成果。

──約翰．班維爾（John Banville），《衛報》

⠀

這本關於弗里德里希．尼采的鮮活傳記，是對這位哲學家的深入刻畫，以及對他作品的精闢評估……尼采經常擔心自己會被誤解和濫用，而事實上他確實被誤解並且仍然被誤用，這更加突顯了如這本書般清晰解讀的價值。

──《紐約客》

⠀

一本堪稱典範的傳記……尼采從模糊和謠言的迷霧中走出，栩栩如生地呈現……一幅細心、嚴謹的肖像。

──帕魯爾．西格爾（Parul Sehgal），《紐約時報》

⠀

精湛。……普莉朵的傳記與先前對尼采生活的描述有所不同之處，在於它充滿了鮮活的親密感。並非追求哲學的嚴謹性，而是以人性化的親近感為目標，這讓她比以往任的何人都更接近尼采。

──摩頓．霍伊．詹森（Morten Høi Jensen），《洛杉磯書評》

⠀

精彩絕倫……寫得極其美麗，極具感染力，講述了一段致力於追求智識偉大成就以及探討其發展條件的生命旅程。

──喬納森．德比郡（Jonathan Derbyshire），《金融時報》

⠀

如果有一本大眾版的尼采傳記，那麼這就是了……普莉朵是一位堅韌且平易近人的嚮導，她讓你毫不懷疑她筆下那位體弱多病、四處漂泊且脾氣暴躁的主角，是有史以來最非凡的人物之一。

──里奧．羅伯森（Leo Robson），《倫敦旗幟晚報》

⠀

《我是炸藥》深入剖析了一個幾乎不可能接近的角色……普莉朵將人性還給了太過人性的尼采……。

──斯圖亞特．凱利（Stuart Kelly），《蘇格蘭人報》

【#新書出版｜精實管理的永續實踐】

​

屢破紀錄的連日高溫與發生頻仍的極端氣候，我們不得不正視淨零減碳對於生存環境的迫切性。

​

而在綠色轉型加速時代，永續發展不再只是理念口號，已成為企業必須遵循的政策與法規。

​

中衛獲德國T&O管理顧問公司團隊授權，今年度重磅出版《#精實管理的永續實踐》，揭示全球頂尖企業如何透過精實管理消除7大浪費，最大化資源效率，滿足企業永續目標與經營策略利益，整合價值鏈，實現經濟、生態與社會三贏的目標✨

​

✅本書精選德國「精實永續管理獎」案例：

​

#寶馬 BMW：策略結合目標管理，達成綠色生產目標

#西門子 SIEMENS：間接部門的精實管理，同步西門子集團整個價值鏈的精實與敏捷

#羅德史瓦茲 ROHDE & SCHWARZ：建構精實管理系統，進而實踐永續

#喜悅汽車 SEAT：全員實踐精實管理，提升環境績效

#飛雅特克萊斯勒 FCA：提升工廠的生態與生物效率

#ASM裝配系統 ASM Assembly Systems：連結供應鏈實踐經濟與生態的最佳化

#博爾塔機械 BOLTA Werke：將組織內成功的資源永續理念推動到組織外

#布勒馬達 Bühler Motor：以精實與資源高效製程邁向未來

#康富登 CONVOTHERM：精實管理專案實現「綠色生產」

#飛斯妥 FESTO：將精實、永續與資源效率融入於新建工廠的設置與管理

#醫學世界 WORLD OF MEDICINE：創建綠色無塵室

​

透過這些案例，可以看到跨國企業及隱形冠軍如何努力結合永續策略於精實管理實踐，具體了解德國製造的卓越與務實！

​

🛒新書這裡買

https://bit.ly/4d21fbv

​

#精實管理 #永續 #綠色轉型 #中衛發展中心

▋《我是炸藥：尼采傳》

作者：蘇．普莉朵｜譯者：邱振訓｜9/19 上市

⠀

★ 榮獲豪森登獎、泰晤士報年度傳記

⠀

■「我知道自己的宿命。總有一天，一提到我的名字就會聯想到某種恐怖的東西——我不是人，我是炸藥。」

⠀

撼動西方的哲學家—弗里德里希．尼采，他所提出的超人哲學、上帝已死、奴隸道德……深深影響了後世，其文字如同炸藥一般，引發了西方思想世界的震盪。在德意志帝國對外征伐的同時，尼采就已先預見了日耳曼精神中的虛無、墮落的信仰。他試圖破除偶像、重估一切價值，在他之後的思想家、藝術家，無不受到其影響。

⠀

■「一想到哪天要是有不夠格、不合適的人拿我的名義招搖撞騙，我就怕得要死。」

⠀

尼采是歷史上最常被誤解的哲學家之一。由於妹妹伊莉莎白刻意改寫，讓他的作品經常被誤讀或濫用，甚至與尼采反對的軍國主義掛勾。在本書中，蘇．普莉朵企圖將尼采從模糊的謠言和誤讀中解放，重新給予公正的描述與評價。書中勾勒出比以往都更接近真實的尼采，深刻地揭示了這位哲學家生命中影響深遠的人物及他不同時期的歷程，讓這位偉大的哲學家不再遙不可及，而是充滿矛盾、激情與人性。

⠀

■「我來教你們，如何成為超人」

⠀

尼采的一生，飽受病痛折磨，每次病痛就是一次考驗，每次復元都是一次價值重生。但他的精神能如駱駝般負重、成為獅子追求自由、化身孩童執行意志。尼采的精神與思想並不隨著癲狂而逝去，反而隨著著作永存。正如他所標榜的：我們必須要成為我們自己，接受生命帶來的一切，才能夠超越自己，成為超人。

⠀

- -

⠀

◆ 作者：蘇．普莉朵（Sue Prideaux）

英裔挪威小說家和傳記作家，其家族與畫家愛德華．孟克有著深厚聯繫。她的前二部傳記著作分別是《愛德華．孟克：吶喊之後》、《史特林堡傳》。第三本傳記《我是炸藥：尼采傳》進一部探討了對孟克、史特林堡都影響深遠的尼采，可謂是前兩本傳記的溯源，追索了藝術背後的人文思想精神。本書亦榮獲豪森登獎及《泰晤士報》年度傳記。

⠀

◆ 譯者：邱振訓

國立臺灣大學哲學博士，研究專長為倫理學、道德心理學。譯有《這一切究竟是為什麼》、《窮查理年鑑》、《衝浪板上的哲學家》、《尼采會怎麼做》等書。

⠀

《我是炸藥：尼采傳》

2024/09/19 上市

⠀

聯　經｜https://linkingthink.com/L178176

博客來｜https://linkingthink.com/B178176

誠　品｜https://linkingthink.com/E178176

金石堂｜https://linkingthink.com/K178176

⠀

【電子書】

Readmoo｜https://linkingthink.com/RE178176

⠀

══ 國內外好評推薦 ══

這正是每一本傳記應該具備的樣子──引人入勝、聰明睿智、感人至深，時而非常幽默，並充滿了對非凡生命的洞察與銳利的觀察細節。

──莎拉．貝克威爾（Sarah Bakewell），《存在主義咖啡館》（At the Existentialist Café）作者

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這是自一八八九年尼采在都靈廣場上失去理智並擁抱一匹馬以來，迫切渴望的傳記。普莉朵以平靜而穩定的光芒，照亮了這位最為燦爛的哲學詩人，並帶來了啟發性的成果。

──約翰．班維爾（John Banville），《衛報》

⠀

這本關於弗里德里希．尼采的鮮活傳記，是對這位哲學家的深入刻畫，以及對他作品的精闢評估……尼采經常擔心自己會被誤解和濫用，而事實上他確實被誤解並且仍然被誤用，這更加突顯了如這本書般清晰解讀的價值。

──《紐約客》

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一本堪稱典範的傳記……尼采從模糊和謠言的迷霧中走出，栩栩如生地呈現……一幅細心、嚴謹的肖像。

──帕魯爾．西格爾（Parul Sehgal），《紐約時報》

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精湛。……普莉朵的傳記與先前對尼采生活的描述有所不同之處，在於它充滿了鮮活的親密感。並非追求哲學的嚴謹性，而是以人性化的親近感為目標，這讓她比以往任的何人都更接近尼采。

──摩頓．霍伊．詹森（Morten Høi Jensen），《洛杉磯書評》

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精彩絕倫……寫得極其美麗，極具感染力，講述了一段致力於追求智識偉大成就以及探討其發展條件的生命旅程。

──喬納森．德比郡（Jonathan Derbyshire），《金融時報》

⠀

如果有一本大眾版的尼采傳記，那麼這就是了……普莉朵是一位堅韌且平易近人的嚮導，她讓你毫不懷疑她筆下那位體弱多病、四處漂泊且脾氣暴躁的主角，是有史以來最非凡的人物之一。

──里奧．羅伯森（Leo Robson），《倫敦旗幟晚報》

⠀

《我是炸藥》深入剖析了一個幾乎不可能接近的角色……普莉朵將人性還給了太過人性的尼采……。

──斯圖亞特．凱利（Stuart Kelly），《蘇格蘭人報》

 「尼采是那個說服我的人。

在他生命的某個時刻，有個想法來到他的生命中，他稱之為「命運之愛」。無論你的命運是什麼，無論發生了什麼，你都要說：「這就是我需要的。」它可能看起來像是一個災難，但要把它當作一個機會，一個挑戰。如果你在那個時刻帶著愛，而不是沮喪，你會發現力量就在那裡。任何你能倖存的災難，都會提升你的品格、你的地位和你的生活。這是多麼榮幸的一件事！這是你的本性自發流動的機會。

然後，當你回顧自己的人生時，你會發現那些看似巨大的失敗和隨之而來的破碎事件，實際上塑造了你現在的生活。你會看到這是真的。沒有什麼事情發生在你身上是負面的。即使當時看起來和感覺上像是一個負面的危機，但它不是危機。危機讓你退縮，而當你需要展現力量時，它就會出現。」

~ 約瑟夫·坎貝爾，《論生活的藝術》

原文:

Nietzsche was the one who did the job for me. At a certain moment in his life, the idea came to him of what he called 'the love of your fate.' Whatever your fate is, whatever the hell happens, you say, 'This is what I need.' It may look like a wreck, but go at it as though it were an opportunity, a challenge. If you bring love to that moment--not discouragement--you will find the strength is there. Any disaster you can survive is an improvement in your character, your stature, and your life. What a privilege! This is when the spontaneity of your own nature will have a chance to flow.

Then, when looking back at your life, you will see that the moments which seemed to be great failures followed by wreckage were the incidents that shaped the life you have now. You’ll see that this is really true. Nothing can happen to you that is not positive. Even though it looks and feels at the moment like a negative crisis, it is not. The crisis throws you back, and when you are required to exhibit strength, it comes.

~Joseph Campbell, Reflections on the Art of Living.

幾堂青春文學課（新潮文庫出發）：英國文學 。說不完的莎士比亞…… Dame Judi Dench 蒼蠅王作者William Golden 推薦 THE FIGHT AT MALDON; the motto: "Thought the harder, heart the keener"

💫 'The Vic was always my dream.'

It's 67 years since Dame Judi Dench made her professional debut as Ophelia in Hamlet with The Old Vic Company. As part of our 200th birthday celebrations in 2018, she spoke to Jade Anouka about the role that kickstarted her epic career. 

It's always a pleasure to welcome her back to The Old Vic stage ❤️

幾堂青春的文學課 (1 新潮文庫出發)：各國文學中無盡寶藏 ：

先簡介法國， 《約翰克利斯朵夫》 到微妙的情、戀，禁忌 (巴黎奧運開幕式裡國家圖書館簡介的9本書.....。SIMPLE PASSION By Annie Ernaux. .......德拉克洛德《危險關係》》長篇小說《俊友/漂亮朋友》《佩利亞斯與梅麗桑德》（Pelléas and Mélisande）德布西的歌劇 Raymond Radiguet《惡魔的身軀》、 漢清講堂 8月27 張恒豪，莫渝，曹永洋，秦賢次

https://www.facebook.com/hanching.chung/videos/1755354941866881

幾堂青春的文學課 (1 新潮文庫出發)：各國文學中無盡寶藏 ：

先簡介法國， 《約翰克利斯朵夫》 到微妙的情、戀，禁忌 (巴黎奧運開幕式裡國家圖書館簡介的9本書.....。SIMPLE PASSION By Annie Ernaux. .......德拉克洛德《危險關係》》長篇小說《俊友/漂亮朋友》《佩利亞斯與梅麗桑德》（Pelléas and Mélisande）德布西的歌劇 Raymond Radiguet《惡魔的身軀》、 漢清講堂 8月27 張恒豪，莫渝，曹永洋，秦賢次

https://www.facebook.com/hanching.chung/videos/1755354941866881

將有直播 幾堂青春文學課（2新潮文庫出發）：英國文學 。說不完的莎士比亞…… 蒼蠅王作者William Golden 推薦 THE FIGHT AT MALDON; the motto: "Thought the harder, heart the keener"

Hanching Chung

The Historian's Den

2天  · 

#Charlesdickens #thehistoriansden

Zubair's Bookshelf

2天 ·

Published in 2021, Marc Morris's ‘The Anglo-Saxons: A History of the Beginnings of England: 400–1066’ delivers an electrifying narrative of how, in the chaos following Rome's fall, a fragmented Britain was fiercely forged into a unified nation by warrior kings, visionary saints, and relentless battles, laying the very foundations of England.
Book Summary:
“A sweeping and original history of the Anglo-Saxons by national bestselling author Marc Morris.
Sixteen hundred years ago Britain left the Roman Empire and swiftly fell into ruin. Grand cities and luxurious villas were deserted and left to crumble, and civil society collapsed into chaos. Into this violent and unstable world came foreign invaders from across the sea, and established themselves as its new masters.a
The Anglo-Saxons traces the turbulent history of these people across the next six centuries. It explains how their earliest rulers fought relentlessly against each other for glory and supremacy, and then were almost destroyed by the onslaught of the vikings. It explores how they abandoned their old gods for Christianity, established hundreds of churches and created dazzlingly intricate works of art. It charts the revival of towns and trade, and the origins of a familiar landscape of shires, boroughs and bishoprics.
It is a tale of famous figures like King Offa, Alfred the Great and Edward the Confessor, but also features a host of lesser known characters - ambitious queens, revolutionary saints, intolerant monks and grasping nobles. Through their remarkable careers we see how a new society, a new culture and a single unified nation came into being.
Drawing on a vast range of original evidence - chronicles, letters, archaeology and artefacts - renowned historian Marc Morris illuminates a period of history that is only dimly understood, separates the truth from the legend, and tells the extraordinary story of how the foundations of England were laid.”
Available:
http://pegasusbooks.com/....../the-anglo-saxons......
Tags:
#england_zubairsbookshelf

所有心情：1秦賢次

‘’談〈新潮文庫〉和新潮叢書‘’ 2023鍾漢清。 2024 擴充出版品中有不少精品，諸如法文小說《惡魔之軀》《Le diable au corps》/ Raymond Radiguet（1923）昔日也曾 轟動日本文壇，川端康成和三島由紀夫的作品也評論過這部作 品。SIMPLE PASSION By Annie ErnauxThe obsession itself, not the object of the obsession, is what compels the character and intrigues

‘’談〈新潮文庫〉和新潮叢書‘’ 2023鍾漢清。 2024   擴充出版品中有不少精品，諸如法文小說《惡魔之軀》《Le diable au corps》/ Raymond Radiguet（1923）昔日也曾 轟動日本文壇，川端康成和三島由紀夫的作品也評論過這部作 品。SIMPLE PASSION By Annie ErnauxThe obsession itself, not the object of the obsession, is what compels the character and intrigues 

談〈新潮文庫〉和新潮叢書 2023鍾漢清 2024   擴充

 談〈新潮文庫〉和新潮叢書 鍾漢清 2023

2024年7月中，花心思心力在弄 《曹永洋與我們的交情：的書，這是繼《張清吉先生紀念文集》(2023)的續集，主角移到曹先生的（張先生的友情等最重要）和其代表性著作

書名固然笨拙，不過副標題表示本書重要主題類別：

「志文/新潮文庫 」

志文出版社的出書上千本，其中五百來本的「新潮文庫 」最是本書利用討論的要點。

「曹永洋家鄉、親、師、友，學生情」

曹永洋家鄉士林，全台第一所小學士林國小，曹姓家族等，能稍深入探討的，盡力而為。

《士林的故事》

曹永洋父親介紹《八芝蘭‧天玉齋隨筆》；日本 IWATE 醫科畢業紀念冊.....

「東海大學校友前25年」:簡介我兩認識的前25界的少數校友.....

 「漢清講堂、漢清佳美」等上傳YOUTUBE約280片的說明，曹老師主導至少15片。

我用「想像的共同體」來形容校友圈 等......

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

《電影藝術，黑澤明的世界 》「 紅鬍子」「生之欲」等）。

本文簡述志文出版創辦人張清吉創業前二十年的新潮文庫和 新潮叢書；張先生數次到日本神田舊書街、東京、大阪大量購買 書籍，有時同一作家的一本書不同版本，插圖、作者年表也不放 過。曹兄喻之為士兵長途的行軍訓練。曹兄只陪他一星期，但一 生難忘。這裡介紹三位女作家的出版品。 

近八年，曹永洋學長一群朋友聚集「漢清講堂」，曾就新潮 文庫做過二、三次簡介並就這套已經具有日本岩波文庫雛型的文 庫做了鳥瞰和扼要的介紹，我自己發現書櫃裡購買的這套叢書， 至少超過二百多本以上。 曹學長常說他是（1990 ∼ 2002）離開 30 年的教書工作才去 志文出版社擔任主編，這時離林衡哲出版《羅素回憶集》《羅素 傳》已經 23 年，由張先生主導，歷任主編（包括女公子張麗卿 女士）的努力，這套文庫無論前面導讀、主角、人物表、插圖、 138 新潮台灣—張清吉紀念文集 談〈新潮文庫〉和新潮叢書 139 作者年譜，進入千禧年，因為版權和紙本閱讀面臨重大挑戰，文 本迅速萎縮，曹主編也因有一隻眼睛視力發生狀況，辭去編務， 可是他常懷念這是他人生最充實、快樂的時光。 出版品中有不少精品，諸如法文小說《惡魔之軀》昔日也曾 轟動日本文壇，川端康成和三島由紀夫的作品也評論過這部作 品。此外，志文還出版過 30 本「新思潮叢書」，其中有杜拉克 （Peter Drucker）《邁向經濟的新紀元》，裡面有一篇〈透過日 本美術看日本〉，這是管理學大師杜拉克的力作，他身兼日本美 術品收藏者和日本美術史的教師。晚年他有一本精采的回憶錄， 更可看出孕育他在本行之外人文方面精湛淵博的學養歷程。張先 生對杜拉克這樣的作家也不輕易放過。

 楊牧、林衡哲主編，殷允芃女士文本《中國人的光輝─當代 名人訪問錄》，此書訪問當時海外著名華人，連很少受訪的張愛 玲也竟然登場。此外顧維鈞、王安、貝聿銘，日本一對活躍文壇 的夫婦，三浦朱門和曾野綾子。三浦在受訪中提及：「閱讀在日 本很受重視⋯⋯法國作家沙特三部曲之一《到自由之路》在法國 僅售出五千冊，而在日本暢銷五萬多本。新潮文庫出版《沙特自 傳》較諸中國簡體字版《文字生涯》更提早 20 年。」 張清吉前往日本搜羅資料的苦心和耗費的精神，超過一般人 所能想像。諸如他交給梁祥美譯出托爾斯泰《日行一善》（分春、 夏、秋、冬四本出版）饒具特色。此外收入新潮文庫名著濃縮本， 羅曼 ‧ 羅蘭名著《約翰 ‧ 克利斯朵夫》，難得收入麥綏萊勒 （Frans Masereel 1889 ∼ 1972）珍貴木刻連環圖畫多達近五十幅， 更使這個版本增色不少。 書本要是能與自己有些相關，印象會更深刻。

 楊牧、林衡哲主編，殷允芃女士文本《中國人的光輝─當代 名人訪問錄》，此書訪問當時海外著名華人，連很少受訪的張愛 玲也竟然登場。此外顧維鈞、王安、貝聿銘，日本一對活躍文壇 的夫婦，三浦朱門和曾野綾子。三浦在受訪中提及：「閱讀在日 本很受重視⋯⋯法國作家沙特三部曲之一《到自由之路》在法國 僅售出五千冊，而在日本暢銷五萬多本。新潮文庫出版《沙特自 傳》較諸中國簡體字版《文字生涯》更提早 20 年。」 張清吉前往日本搜羅資料的苦心和耗費的精神，超過一般人 所能想像。諸如他交給梁祥美譯出托爾斯泰《日行一善》（分春、 夏、秋、冬四本出版）饒具特色。此外收入新潮文庫名著濃縮本， 羅曼 ‧ 羅蘭名著《約翰 ‧ 克利斯朵夫》，難得收入麥綏萊勒 （Frans Masereel 1889 ∼ 1972）珍貴木刻連環圖畫多達近五十幅， 更使這個版本增色不少。 書本要是能與自己有些相關，印象會更深刻。1971 ∼ 1975，鍾玲第一本書《赤足在草地上》書中的風土、人物在在引 起讀者的共鳴。有趣的是，近五十年之後，再讀其近作《我的青 芽歲月》。書中鍾玲提到二位摯友：方瑜，描寫山上清晨雨後神 秘的「夢谷」與花樹，那是多麼浪漫純情的青春物語。另一位亦 師亦友的陳曉薔姐，寫在〈竹廈〉裡，那是超越師生情緣的動人 友誼！ 

方先生與新潮 晚年夫婦

每個人紀越長越優雅

最後我要介紹的是伊芙 ‧ 居禮為母親寫的《居禮夫人傳》 （鍾玉澄譯），居禮夫人罹患一種無法再生性的惡性貧血症，由 於長年放射性的傷害，死亡的訊息從病房傳布到世界各地。年輕 的科學家們，站在儀器前哽咽啜泣：「我們失去了一切！」 「她的棺柩安放在彼埃爾 ‧ 居禮的棺柩上面⋯⋯朝著打開 的墓穴投下一把波蘭帶來的泥土。墓碑上多鐫刻了一行字：「瑪 麗 ‧ 居禮 ‧ 斯克羅德夫絲卡 1867 ∼ 1934」⋯⋯（一年之後） 書面上印有作者的名字：「彼埃爾 ‧ 居禮夫人　索本大學教授　 諾貝爾物理獎得主　諾貝爾化學獎得主」。書名是簡潔而輝煌的 金字：放射能（RADIOACTIVITY） 東海大學工業工程系畢業，愛書人，長期關心文化，成立漢 清講堂。

https://www.google.com/search?q=Romances+sans+paroles++YOUTUBE+Paul+Verlaine&sca_esv=63fea97d1001d15f&sca

非最後昨晚，在巴黎奧運的開幕式上，法國致敬了大量的法國電影及文學作品。在致敬楚浮《夏日之戀》的影像中，展示了包括詩歌、戲劇、小說在內的 9 部著作：

《Romances sans paroles》/  Paul Verlaine（1874）

《On ne badine pas avec l'amour》/ Alfred de Musset（1834）

《Passion Simple》/ Annie Ernaux（1991）

安妮艾諾（Annie Ernaux）暢銷小說《Passion Simple》。這本小說不但狂銷40萬冊、被翻譯成20種語言，並曾榮獲紐約時報值得關注好書。這位作品屢獲垂青 ...

 安妮艾諾（Annie Ernaux）的《Passion simple》，而這本書也曾被改編成電影《情慾告白》， 佳映娛樂在2022 年時發行。 

《简单的激情》《Passion simple》

《Bel-ami》/ Guy de Maupassant（1885）

《Sexe et mensonges》/ Leïla Slimani（2020）

《Le diable au corps》/ Raymond Radiguet（1923）

《Les liaisons dangereuses》/ Pierre Choderlos de Laclos（1782）

《Les amants magnifiques》/ Molière（1670）

《Le Triomphe de l'amour》/  Pierre de Marivaux（1732）

保羅·魏爾倫（法語：Paul Verlaine，法語發音：[pɔl vɛʁlɛn]；1844年3月30日—1896年1月8日），法國象徵派詩人。

詩集：

• 《明智》
• 《無字浪漫曲》
• 《憂鬱詩章》

德布西著名的《月光》靈感正來自於魏爾倫的《月光曲》。

法文

中文（梁宗岱譯）

Votre âme est un paysage choisi Que vont charmant masques et bergamasques Jouant du luth et dansant et quasi Tristes sous leurs déguisements fantasques. Tout en chantant sur le mode mineur L'amour vainqueur et la vie opportune Ils n'ont pas l'air de croire à leur bonheur Et leur chanson se mêle au clair de lune, Au calme clair de lune triste et beau, Qui fait rêver les oiseaux dans les arbres Et sangloter d'extase les jets d'eau, Les grands jets d'eau sveltes parmi les marbres.

你的魂是片迷幻的風景 斑衣的俳優在那裡遊行， 他們彈琴而且跳舞——終竟 彩裝下掩不住欲顰的心。 他們雖也曼聲低唱，歌頌 那勝利的愛和美滿的生， 終不敢自信他們的好夢， 他們的歌聲卻散入月明—— 散入微茫，悽美的月明裡， 去縈繞樹上小鳥的夢魂， 又使噴泉在白石叢深處 噴出絲絲的歡樂的咽聲。

1993.1023

Who Can Explain It? Who Can Tell You Why?

The obsession itself, not the object of the obsession, is what compels the character and intrigues Ms. Ernaux.

SIMPLE PASSION By Annie Ernaux. Translated by Tanya Leslie. 64 pp. New York: Four Walls Eight Windows. $15.

PERHAPS only in France -- the country that made cultural icons of Roland Barthes and Jerry Lewis, Simone de Beauvoir and Coco Chanel -- could the slender autobiographical fictions of Annie Ernaux have become best sellers. "Simple Passion," a memoir of a writer's obsessive affair with a shadowy married man, is part semiotic treatise and part Harlequin romance, and all the better for the combination of high and low. One of the hottest books in France last year, it embraces the crazed adolescent behavior that can crop up at any age, yet is intelligent enough to wrap those details in a taut literary shape and defiantly unemotional language.

簡單的熱情 作者：Annie Ernaux。坦妮亞·萊斯利翻譯。 64 頁，紐約：四牆八窗。 15 美元。

也許只有在法國——這個創造了羅蘭·巴特、傑瑞·劉易斯、西蒙娜·德·波伏娃和可可·香奈兒等文化偶像的國家——安妮·埃爾諾的薄薄自傳體小說才能成為暢銷書。 《簡單的激情》是一本關於一位作家與一位神秘已婚男子的痴迷戀情的回憶錄，它一半是符號學論文，一半是丑角浪漫史，而且更適合將高雅和低俗結合起來。作為去年法國最熱門的書籍之一，它包含了任何年齡段都可能出現的瘋狂青少年行為，但又足夠聰明，以緊張的文學形以緊張的文學形式和絕對不帶感情色彩的語言來包裹這些細節。