2016年8月29日 星期一

The Great Tradition by FR Leavis

此書有漢譯本。
The controversial critic’s statement on English literature is an entertaining,…
THEGUARDIAN.COM|由 ROBERT MCCRUM 上傳

MADNESS AND CIVILIZATION: A History of Insanity in the Age of Reason by Michel Foucault

"Confined in the ship, from which it is impossible to escape, the madman is confined to the thousand branches of the river, the thousand paths of the sea, to this great uncertainty external to everything. He is a prisoner in the midst of the most free, the most open of roads: chained solidly to an infinite crossroads."
--from MADNESS AND CIVILIZATION: A History of Insanity in the Age of Reason by Michel Foucault
Perhaps the French philosopher's masterpiece, which is concerned with an extraordinary question: What does it mean to be mad?

2016年8月28日 星期日

THEATRE/THE PAINTED VEIL by W. Somerset Maugham


“Those words, though heaven only knew how often she had heard them, still gave her her thrill. They braced her like a tonic. Life acquired significance. She was about to step from the world of make-believe into the world of reality.”
―from THEATRE



“Some of us look for the Way in opium and some in God, some of us in whiskey and some in love. It is all the same Way and it leads nowhither.”
―from THE PAINTED VEIL



“How can I be reasonable? To me our love was everything and you were my whole life. It is not very pleasant to realize that to you it was only an episode.”
―from THE PAINTED VEIL by W. Somerset Maugham


Set in England and Hong Kong in the 1920s, The Painted Veil is the story of the beautiful but love-starved Kitty Fane. When her husband discovers her adulterous affair, he forces her to accompany him to the heart of a cholera epidemic. Stripped of the British society of her youth and the small but effective society she fought so hard to attain in Hong Kong, she is compelled by her awakening conscience to reassess her life and learn how to love. READ an excerpt here: http://knopfdoubleday.com/book/109394/the-painted-veil/

"The Sorrows of Young Werther" (1774) by Johann Wolfgang von Goethe


“The human race is a monotonous affair. Most people spend the greatest part of their time working in order to live, and what little freedom remains so fills them with fear that they seek out any and every means to be rid of it.”

"No doubt you are right, my best of friends, there would be far less suffering amongst mankind, if men—and God knows why they are so fashioned—did not employ their imaginations so assiduously in recalling the memory of past sorrow, instead of bearing their present lot with equanimity."
--from "The Sorrows of Young Werther" (1774) by Johann Wolfgang von Goethe
One of the towering figures of world literature, Goethe has never held quite as prominent a place in the English-speaking world as he deserves. This collection of his four major works, together with a selection of his finest letters and poems, shows that he is not only one of the very greatest European writers: he is also accessible, entertaining, and contemporary. The Sorrows of Young Werther is a story of self-destructive love that made its author a celebrity overnight at the age of twenty-five. Its exploration of the conflicts between ideas and feelings, between circumstance and desire, continues in his controversial novel probing the institution of marriage, Elective Affinities. The cosmic drama of Faust goes far beyond the realism of the novels in a poetic exploration of good and evil, while Italian Journey, written in the author’s old age, recalls his youth in Italy and the impact of Mediterranean culture on a young northerner. Translators includeW.H. Auden, Louise Bogan, David Constantine, Barker Fairley, and Elizabeth Mayer. MORE here:http://knopfdoubleday.com/book/61089/selected-works/

Willa Cather 作品

The University of Nebraska's Willa Cather Digital Archives

http://cather.unl.edu/



Everyman's Library
"The Hawthorn Tree" by Willa Cather
Across the shimmering meadows--
Ah, when he came to me!
In the spring-time,
In the night-time,
In the starlight,
Beneath the hawthorn tree.
Up from the misty marsh-land--
Ah, when he climbed to me!
To my white bower,
To my sweet rest,
To my warm breast,
Beneath the hawthorn tree.
Ask of me what the birds sang,
High in the hawthorn tree;
What the breeze tells,
What the rose smells,
What the stars shine--
Not what he said to me!
*
Before Willa Cather went on to write the novels that would make her famous, she was known as a poet, the most popular of her poems reprinted many times in national magazines and anthologies. Her first book of poetry, April Twilights, was published in 1903, but Cather significantly revised and expanded it in a 1923 edition entitled April Twilights and Other Poems. This Everyman’s Library edition reproduces for the first time all the poems from both versions of April Twilights, along with a number of uncollected and previously unpublished poems by Cather, as well as an illuminating selection of her newly released letters. In such lyrical poems as “The Hawthorn Tree,” “Winter at Delphi,” “Prairie Spring,” “Poor Marty,” and “Going Home,” Cather exhibits both a finely tuned sensitivity to the beauties of the physical world and a richly symbolic use of the landscapes of myth. The themes that were to animate her later masterpieces found their first expression in these haunting, elegiac ballads and sonnets.

Vintage Books & Anchor Books
"He came to be very glad that he had known her, and that she had had a hand in breaking him in to life. He has known pretty women and clever ones since then,—but never one like her, as she was in her best days. Her eyes, when they laughed for a moment into one's own, seemed to promise a wild delight that he has not found in life. 'I know where it is,' they seemed to say, 'I could show you!'"  
Willa Cather, A LOST LADY
《殘百合》張心漪譯,台北:暢流,1956;台北:大地:1981,pp.134-35
A portrait of a woman who reflects the conventions of her age even as she defies them and whose transformations embody the decline and coarsening of the American frontier.
https://en.wikipedia.org/wiki/A_Lost_Lady
WillaCather ALostLady.jpg
First edition
AuthorWilla Cather
CountryUnited States
LanguageEnglish
PublisherAlfred A. Knopf
Publication date
September 1923
Media typePrint (Hardback)

翻譯偵探事務所新增了 3 張相片
2014年9月12日
1956年張心漪翻譯的「殘百合」,暢流出版,譯自美國女作家Willa Cather的小說A Lost Lady(1923)。Willa Cather在1940-1950年代頗受歡迎,湯新楣翻譯的「原野長宵」(後改名「我的安東妮亞」)和「開墾的人」都再版多次。
這本「殘百合」是從一個孩子的角度,描寫一個迷人的少婦。少婦的丈夫比她年長二十五歲,老夫少妻,後來丈夫年事漸高,中風以後,妻子仍在盛年,有次與人偷情被那敘事者看到,遂覺偶像崩壞,無限悵惘..因此書名A Lost Lady。張心漪譯的真好看,但書名讓人想到「殘花敗柳」,似乎有點言重。



1940.12.18 胡適50歲生日後一天給Roberta (Robby) Lowitz*一封信.
說昨天杜威博士給他一封很好的短箋.....兩個晚上前胡適讀 Willa Cather (1873 - 1947) Double Birthday,( set in Pittsburgh, is part of a group referred to as the Pittsburgh stories.) ,說它是其生平讀過的最佳小說之一......."我喜Willa Cather的書. 妳知道她嗎?"......


"Even in American cities, which seem so much alike, where people seem all to be living the same lives, striving for the same things, thinking the same thoughts, there are still individuals a little out of tune with the times - there are still survivals of a past more loosely woven, there are disconcerting beginnings of a future yet unforeseen."
 *
 胡適之先生的世界The World of Dr. Hu Shih: 胡適的愛情神話: 《星星 ...
hushihhc.blogspot.com/.../blog-post_4967.ht...Translate this page
Aug 2, 2012 - 胡適與Roberta (Robby) Lowitz (後來為杜威夫人/師母胡適晚年說Robby是富家女將杜威照顧得很好......)的情緣不過我們看杜威的傳記中怎說她倆的 ...
*****
'The Selected Letters of Willa Cather'
Edited by ANDREW JEWELL and JANIS STOUT
Reviewed by TOM PERROTTA


In her letters, the novelist Willa Cather emerges as a strong and vivid presence, a woman at once surprisingly modern and touchingly - if not always sweetly - old-fashioned.
O Pioneers! is a 1913 novel by American author Willa Cather. It was written in part when Cather was living in Cherry Valley, New York, with Isabelle McClung[1] and was completed at the McClungs' home in Pittsburgh.[2]

啊,拓荒者!資中筠 譯(《閑情記美》內收入1988/1997 二版的介紹----
The Project Gutenberg EBook of O Pioneers!, by Willa Cather ,沒收入文中說的題詞。
  
   http://cather.unl.edu/0017.html  



Willa Cather was born on this day in 1873 in Virginia, though she lived in Nebraska from age ten.
"The great fact was the land itself, which seemed to overwhelm the little beginnings of human society that struggled in its sombre wastes. It was from facing this vast hardness that the boy's mouth had become so bitter; because he felt that men were too weak to make any mark here, that the land wanted to be let alone, to preserve its own fierce strength, its peculiar, savage kind of beauty, its uninterrupted mournfulness." --from "O Pioneers!" (1913)
No other work of fiction so vividly evokes the harsh beauty and epic sweep of the Nebraska prairies that Cather knew and loved. The heroine of O Pioneers!, Alexandra Bergson, is a young Swedish immigrant at the turn of the twentieth century who inherits her father’s wind-blasted land and, through years of hard work, turns it into a prosperous farm. Fiercely independent, Alexandra sacrifices love and companionship in her passionate devotion to the land, until tragedy strikes and brings with it the chance for a new life.

PRAIRIE SPRING EVENING and the flat land, Rich and sombre and always silent; The miles of fresh-plowed soil, Heavy and black, full of strength and harshness; The growing wheat, the growing weeds, The toiling horses, the tired men; The long empty roads, Sullen fires of sunset, fading, The eternal, unresponsive sky. Against all this, Youth, Flaming like the wild roses, Singing like the larks over the plowed fields, Flashing like a star out of the twilight; Youth with its insupportable sweetness, Its fierce necessity, Its sharp desire, Singing and singing, Out of the lips of silence, Out of the earthy dusk.


Willa Sibert Cather was born in Gore, Virginia on this day in 1873.
"That is happiness; to be dissolved into something complete and great. When it comes to one, it comes as naturally as sleep."
— from 'My Ántonia' by Willa Cather
Often considered her first masterpiece, with 'My Ántonia' Willa Cather created one of the most winning yet thoroughly convincing heroines in American fiction. Ántonia Shimerda, the daughter of Bohemian immigrants, not only survives her father's suicide, poverty, and a failed romance, she triumphs with high spirits. 'My Ántonia' was enthusiastically received in 1918 when it was first published, and placed Cather in the forefront of women novelists.
-----

“In great misfortunes, people want to be alone. They have a right to be. And the misfortunes that occur within one are the greatest. Surely the saddest thing in the world is falling out of love--if once one has ever fallen in.”
―from THE PROFESSOR'S HOUSE by Willa Cather
A study in emotional dislocation and renewal--Professor Godfrey St. Peter, a man in his 50's, has achieved what would seem to be remarkable success. When called on to move to a more comfortable home, something in him rebels.

Everyman's Library
"The sky was as full of motion and change as the desert beneath it was monotonous and still, — and there was so much sky, more than at sea, more than anywhere else in the world. The plain was there, under one's feet, but what one saw when one looked about was that brilliant blue world of stinging air and moving cloud. Even the mountains were mere ant-hills under it. Elsewhere the sky is the roof of the world; but here the earth was the floor of the sky. The landscape one longed for when one was away, the thing all about one, the world one actually lived in, was the sky, the sky!"
--from DEATH COMES FOR THE ARCHBISHOP (1927) by Willa Cather
Willa Cather’s story of the missionary priest Father Jean Marie Latour and his work of faith in the wilderness of the Southwest is told with a spare but sensuous directness and profound artistry. When Latour arrives in 1851 in the territory of New Mexico, newly acquired by the United States, what he finds is a vast desert region of red hills and tortured arroyos that is American by law but Mexican and Indian in custom and belief. Over the next four decades, Latour works gently and tirelessly to spread his faith and to build a soaring cathedral out of the local golden rock—while contending with unforgiving terrain, derelict and sometimes rebellious priests, and his own loneliness. DEATH COMES FOR THE ARCHBISHOP shares a limitless, craggy beauty with the New Mexico landscape of desert, mountain, and canyon in which its central action takes place, and its evocations of that landscape and those who are drawn to it suggest why Cather is acknowledged without question as the most poetically exact chronicler of the American frontier. Introduction by A.S. Byatt. MORE here:http://knopfdoubleday.com/…/death-comes-for-…/9780679413196/

2016年8月27日 星期六

楊允達《巴黎摘星集》《書寫者,看見 (楊允達 篇) :一夢四十年》(陳文發);《塞纳河畔》

《巴黎摘星集》臺北市幼獅文化. 1984


楊允達,一九三三年生於武漢,祖籍北平,今稱北京。一九四六年隨雙親遷往台灣,台灣大學史學系畢業,政治大學新聞研究所碩士,法國巴黎大學文學博士。曾任中央通訊社記者、駐非洲特派員、駐巴黎特派員、駐日內瓦聯合國特派員、外文部主任長達四十年,美國美聯社駐台北特派員三年六個月。十五歲時寫詩,第一首詩『希望』,於一九四九年七月十八日刊載在今日聯合報之前身『全民日報』,一九五三年與詩人紀弦、鄭愁予、葉泥、林泠、商禽、楚戈、羅行等人在台北創組現代詩社,成立台灣詩壇的現代派。六十年來不停寫詩,作品見刊於紀弦主編的台灣第一個詩刊《新詩周刊》,以及紀弦創辦的《詩志》、《現代詩》、覃子豪、余光中主編的《藍星詩刊》,洛夫、張默、瘂弦等人主編的《創世紀》,羅行主編的《南北笛》,和黃仲琮主編的《詩隊伍》等詩刊,與詩人鐘鼎文,墨人、覃子豪、羅行、鄭愁予、葉泥、林泠、商禽、沉冬、秀陶、辛鬱、麥穗、羅門、蓉子、羊令野、楚戈等交往甚密,奠定了他在台灣詩壇的地位。1961年他考進中央社,先後服務40年,於1998年,屆齡65歲退休。歷任記者、外文部主任、駐伊索比亞特派員、駐巴黎特派員、駐南非特派員、駐日內瓦特派員。曾於1969年10月至1973年3月出任美聯社駐華特派員,採訪日、台斷交,美國總統尼克松訪問北京、台灣退出聯合國等重大新聞。他曾出版:《又來的時候》、《伊索比亞風情畫》、《彩虹集》、《允達詩選》、《巴黎夢華錄》、《巴黎摘星集》、《西行采風志》、李金發評傳《一罐酒》、《異鄉人吟》、《李金發的作品與生平》等17本散文集和詩集。他於一九八五年加入世界詩人大會,一九九四年出任世界詩人大會秘書長,二零零八年十月十二日在墨西哥舉行的第廿八屆世界詩人大會中,全票當選為世界詩人大會主席暨美國世界藝術文化學院院長,可謂集詩人、作家、記者、史學家於一身,著有詩集六本、散文集六本、詩評理論二本,翻譯詩集三本。其中『異鄉人吟』和『三重奏』兩本詩集是作者用中、英、法、三種語文著作,被公認為極少數能用中、英、法、三種語文同時創作的詩人。曾獲中國文藝協會頒贈榮譽文藝獎章』,中國新詩學會頒給『詩教獎』,韓國漢江文化協會,外蒙古作家協會,以及印度筆會,均曾分別在漢城、烏蘭巴托和清奈,頒授優等文藝獎章,肯定他在國際詩壇的成就。他的詩已被翻譯成英、法、日、西班牙、斯洛伐克、希臘、蒙古,以及韓國等九種文字出版。他當選世界詩人大會主席後。創設英文網站,最近又設立日文和西班牙文網站,不久將設立中文網站誓志在他任內,把中國詩人的作品介紹到全世界,宏揚詩教,促進世界大同。他於2010年在北京設立世界詩人大會中國辦事處,任命著名詩人北塔為辦事處主任。他於今年四月初訪問美國芝加哥鄰近的肯諾夏市,籌辦定於今年八月廿八日至九月四日在該城舉行篛三十一屆世界詩人大會,邀請全球二十六國的二百多位詩人參加,肯諾夏市市長波斯曼特別在市長辦公室接見,頒給他獎狀,宣佈四月十七日為楊允達博士日,此一新聞見刊美國報紙。Google網路http://www.xxxiworldcongresso…



2016/0828
書寫者,看見 (楊允達 篇)
一夢四十年
那天來到林口長庚養生村,和多年不見的前輩詩人楊允達老師閒談,從他1947年228事件3個月後,隨母親與哥姐弟們來台,和已先前抵台接收台灣鐵路作業,在鐵路局任文牘工作的父親團聚,不久進入和平中學初中部(現今師大附中,也曾稱師院附中)就讀,那年十三歲開始寫起詩來,一路談到任中央通訊社駐法特派員期間,於1981年開始參與國際筆會活動,以至1985年開始以「以詩會友,促進世界和平」參與世界詩壇活動,並於2008年全票當選「世界詩人大會」主席暨「世界藝術文化學院」院長,連任三屆迄今。
雖然多年前,曾前往淡水紅樹林的居所拜訪過,但要面對他有著四十年國際特派員,豐富的國際採訪經歷,行前確實備感壓力。這回再次拜訪,見他依然如往昔般親切,不疾不徐,很有耐心的,詳細回答我閒談中所提出的話題。加上他台大歷史系學妹,他的夫人曼施,王萍女士,在一旁聽我談起他們幾十年的老朋友近況,偶也接上幾句,忽時感嘆、忽時發出親切的笑聲,讓我壓力減輕不少,也放鬆自在了許多。
談了一陣寫詩的話題後,問起他:您台大歷史系畢業後,沒持續往歷史學科發展,反而轉讀了政大新聞研究所?他說:早年台灣的大學都是個別獨立招考,當時政大還沒復校,如果政大提早復校,我會毫不猶豫去考政大新聞系。我考上台大,台大沒新聞系,也考上師範學院,我對繪畫有基礎也有興趣,曾經想讀美術系,最後選擇台大歷史系。畢業後,政大已復校,設有新聞研究所,我和台大歷史系要好的同班同學逯耀東,一起報考新研所,數百人報考,僅取十名,結果我僥倖考上,逯耀東沒考上,轉考香港新亞書院研究所,苦研歷史,後來成為知名的史學家。
所以您從小的志願,是想當新聞記者?他說:的確,我夢想當記者,而且要當一名戰地記者。您這記者夢,是從何時開始築起的?他和坐我後方的師母曼施,異口同聲的回說:讀高中的時候。他接著說:在成功中學時,讀到美國戰地記者恩尼‧派爾(ERNIE‧PYIE)寫的戰地報導,是正中書局印行,于熙儉翻譯的《大戰隨軍記》。中文版是由《Here is Your War》(這是你的戰爭)與《Barve Men》(勇士們)兩書合訂成一集。是恩尼‧派爾於1942~1945年期間,隨美軍部隊前進北非、西西里島、義大利、法國戰場,以至最後採訪太平洋戰爭中最激烈,死傷慘重的硫磺島戰役。
恩尼‧派爾的戰地報導寫得真好,我當時讀得非常入迷,其中有一段我至今仍印象深刻,他描寫硫磺島戰役中,好友被日軍子彈打中,當場在他面前倒下,當時我看了他的報導,覺得當戰地記者實在太刺激了。可惜他於1945年4月17日,隨77步兵師登陸琉球群島的伊江島,隔日在採訪途中,遭日軍機槍手,擊中貫穿太陽穴,當場身亡,可說死得其所。
您後來當了記者,曾前往戰地採訪嗎?他說:後來我考進中央通訊社,也曾被派往當時兩岸冷戰時期的戰地,金門、烏坵、馬祖、東引,去最前線採訪,搭過登陸艇、驅逐艦、水上飛機,靠退潮搶灘上岸。金門、馬祖去過很多次,我記得有回去馬祖採訪,中共得到消息,砲彈就直接打過來了,我們趕緊上岸,躲進山洞裡。
他接著談到1963年,採訪中美聯合演習:「藍天演習」是中美聯合的海陸空三級作戰演習,美國太平洋艦隊、台灣驅逐艦隊全部動員。我和各家媒體記者從松山機場,搭直升機飛基隆外海,降抵美國航空母艦雛鷹號,雛鷹號約有十四層樓高,像一座小型的城市,從台灣開往菲律賓馬尼拉採訪。隔年中央社派我代表全國新聞界,到琉球採訪美軍在彰化「天兵演習」時輪姦少女暴行案,同行者有當時北美司科長錢復、司法官李模、辯護律師端木愷。
請您談談目前中央通訊社的現況,他說:中央社最早是屬於國民黨,但預算來自教育部,始終搞不清楚,後來預算一部分來自教育部,一部分來自賣新聞的收入,現是財團法人組織,跟國民黨已無關係,預算百分之八十是來自新聞局,現在新聞局就可以把中央社掐死,不給預算就活不了。我1961年二月從金門服完預備軍官役,自金門戰地返台,憑當時政大新研所碩士學歷,要考《聯合報》、新聞局、外交部,幾乎都可以考取,但我的志願就是要當一名中央社的記者,那時中央社的特派員都是第一流的,我只報考中央社,四月百人報考,只錄取我一名。
我四十年只做一種職業,直到1998年六十五歲退休,中央社已不屬於黨,也不屬於公家單位,領了三百萬退休金,那時三百萬在台北市區,只能買一間廁所,所以我能存活到今也算是很不容易。他接著說:我在台灣所受的教育是,和平→建國→成功→台大→政大,完成學業後,在陸軍步兵學校受訓半年,在政工幹校受訓三個月,再派往金門前線,我是苦哈哈,服完整整兩年兵役,是按規矩來的,不像有背景的人,可以逃避兵役,不當兵直接去美國留學。
那時有所謂的「道德重整運動」,是于斌總主教與瑞士「道德重整會」合作,招考青年大學生,把他們送到美國受訓後,分派到不同的國家去服務,很多國民黨大官子弟,藉機鑽這個洞,到了美國開小差跑掉,不必服兵役就可以直接去美國留學,回台還可以馬上當高級官員。
這些都是以前國民黨黑暗的地方,我對國民黨了解,對共產黨也很了解,我是反國民黨也反共產黨,只要是不好的我都反,台灣現在不是分藍綠嗎?我不認你藍綠,我只認真假好壞,藍裡有壞的,綠裡有好的,藍裡有假的,綠裡有真的,拿鈔票來說,有真有假,真的就是真的,假的一毛不值,我們對人對事,是講是非真假,我不講你藍綠,今天你對我講你是藍的,我也不會對你好到哪去,反之。我只講你好不好,你是正派的,你是邪惡的,小人我是看不起的,我不跟你往來,好人我跟你接近,做人就是這樣。國民黨也有壞的,壞得比民進黨的壞更壞的都有。
您在記者生涯中,除了採訪過蔣中正、宋美齡、蔣經國,還有法國五任總統戴高樂、龐畢度、季斯卡、米特朗、席哈克,美國總統尼克森、艾森豪,古巴強人卡斯楚,英國女王伊莉莎白二世、首相柴契爾夫人等等國際政治領袖,讓我訝異的是,六、七十年代,您在海外還親身採訪過,中共總理周恩來、華國鋒、鄧小平,請您談談這段經歷,他聽了我的提問,笑說:我派駐在海外約有二十五年,走過歐、亞、美、非四大洲三十多個國家,的確有較多機會採訪到國際政治領袖,之所以有機會訪問到周恩來,這得要從當年台灣外交部,祕密推動非洲外交的「先鋒計畫」談起。
1965年我被社長馬星野,派到衣索匹亞首都,阿迪斯阿貝巴,出任駐非洲特派員,名義上是中央社記者,但實際上我是外交部派到衣從事地下外交工作,領外交部參事的薪水。1961年開始,英、法非洲的殖民地紛紛獨立,共計有五、六十個都是剛獨立的國家,無論大或小的國家,在聯合國都有投票權。我在衣收集他們在聯合國的動向情報,做工作並說服他們在聯合國支持台灣,來鞏固我們在聯合國常務理事的合法席位。
當時台灣與衣並無邦交,中共新華社駐非記者,得知我抵衣,先阻擾我參加外籍記者聯誼會,又唆使衣外交部新聞司推延發給我記者證和居留證,把我孤立起來,但我還是想盡辦法在半年內,於衣建立了中央社駐非辦事處。九個月後才把我太太和大兒子接來衣,我二兒子是在衣出生的。台灣祕密推動「先鋒計畫」外交,派遣去非洲有農耕隊、醫療隊、手工藝隊以及獸醫隊,其實這些隊伍和我一樣,都是派駐在當地從事情報蒐集的工作。派在衣的新華社、塔斯社、法新社、路透社、美國新聞處等等國家新聞機構,我們都知道彼此同樣是在做情報蒐集的工作。
1965年六月,中共總理周恩來率領四十多名外交、貿易幹部,搭乘蘇聯伊流申型噴射螺旋槳兩用的中國民航,先到坦桑尼亞經肯亞飛抵衣。周恩來在坦受到熱情招待,慷慨激昂地向非洲人民宣布:「非洲革命的時機已經成熟」。他來衣主要是來拉攏「不結盟國家」盟主,衣皇帝塞拉西一世,一同打倒「美帝」,當時塞拉西跟美國走得很近,所以沒出面接見他。我聽到消息趕抵機場,見周恩來穿著列寧裝走下飛機,那年他大約五十幾歲,相貌好,濃眉大眼,眼睛非常有神,走近我時,那位之前持續阻擾我的新華社記者,連忙上前低聲地告訴他,我是國民黨派來的特務,他聽了還回頭看了我一眼,再往前跟衣國的官員握手寒暄。
周恩來步入機場貴賓室時,原本不預備發表談話,但三十多名國際記者圍著他,使他不得不說幾句。我跟他坐得很近,幾乎是面對面,他用普通話說他從坦桑尼亞經過肯亞來到衣,飛機加油後將飛埃及訪問,才返回北京。中共的兩名隨行攝影記者,不拍周總理,鏡頭反而對準我,連續拍了整整兩分鐘。他講了幾句話後,接著與衣外長卡第瑪晤談,記者群可以在五十呎距離處旁觀,他們講話非常小聲,尤其是卡第瑪,他向周恩來解釋首相為何沒來親臨接機,周恩來用普通話問他,為何衣與中共建交的事,一直猶豫不決?
接著談到採訪鄧小平,他說:1975年,鄧小平剛剛起來,以中共副總理的身分,前往法國進行正式訪問,距離他早年勤工儉學來到巴黎,已超過半個多世紀,雖已年逾古稀,當時我是駐法特派員,在機場見他步履穩健,毫無倦容。法國總理希哈克親自去機場接他,他雖然身材是矮了點,和高大的希哈克並肩檢閱儀隊,但他那股炯炯有神的氣勢,讓人看了油然起敬。我直接和他打招呼採訪,他說得一口四川味的普通話。
結束閒談前,楊允達對於四十年的記者生涯,有所感悟的說:身處在時代巨變的潮流中,實在難以想像,現今中央社與蘇俄塔斯社簽訂新聞交換協定,台灣新聞記者也能直驅北京、莫斯科採訪,來去自如。如今誰還會相信我曾在海外和中共、俄共記者鬥爭多回的往事呢?

~~~~

塞纳河畔吴岳添著·中央编译1996年版)


吳岳添,男,漢族,1944年11月6日生,江蘇武進人。中共黨員。中國社會科學院外文所研究員。主要學術專長是法國文學流派。1967年畢業於南京大學外文係法語專業,1981年畢業於中國社會科學院研究生院外國文學係法國文學專業,獲文學碩士學位。198612月-1987年9月在巴黎高等社會科學研究院進修文學社會學。曾任外文所科研處處長,南歐拉美文學研究室主任,中國法國文學研究會副會長。現為外文所研究員,中國作協會員,中國法國文學研究會會長,從2002年起為湘潭大學文學與新聞學院特聘教授、比較文學與世界文學研究所所長。
中文名
吳岳添
民 族
漢族
出生地
江蘇武進
出生日期
1944年11月6日

1學習工作經歷編輯

1944.11.6出生於江蘇武進。
1950.9-1956.7在江蘇常熟、無錫和揚州等地讀小學。
1956.9-1962.7南京市浦鎮中學
1962.9-1967.7南京大學外文係法語專業
1967.7-1968.7留校搞文化大革命一年
1968.9-1969.12江蘇淮安林集6436部隊農場鍛煉
1969.12-1970.3安徽廬江縣白湖農場鍛煉
1970.5-1972.4瀋陽松陵機械廠鉚工(今瀋陽飛機製造公司)
1972.5-1978.8瀋陽松陵機械廠情報室翻譯
1978.9-1981.7中國社會科學研究生院外國文學係法國文學專業
1981.9-1985.11中國社會科學院外國文學研究所理論室
1985.12-1987.9巴黎高等社會科學研究院進修
1987.9-2002.7外國文學研究所研究員
2002.8—湘潭大學文學與新聞學院教授

2科研成果編輯

專著:
1。《法國文學流派的變遷》(北京大學出版社,1995)
2。《法朗士----人道主義鬥士》(長春出版社,1995)
3。《盧梭》(華夏出版社,2002)
4。《薩特傳》(新世界出版社,2003)
文集:
1。《遠眺巴黎》(敦煌文藝出版社,1994)
2。《塞納河畔》(中央編譯出版社,1996)
3。《世紀末的巴黎文化》(社會科學文獻出版社,1998)
4。《法國文學散論》(東方出版社,2002)
譯著:
文藝理論
1。《論無邊的現實主義》(上海文藝出版社,1986年初版,1998年天津百花文藝出版社重版。)
2。《電影作為語言》(合譯,中國社會科學出版社,1988)
3。《論小說的社會學》(中國社會科學出版社,1988)
4。《社會學批評概論》(廣西師範大學出版社,1993)
社會科學:
1。《左拉文學書簡》(安徽文藝出版社,1995)
2。《讓-雅克·盧梭,明信片畫傳:他的生平與著作》(三聯書店,1996)
3。《小愛大德》(中央編譯出版社,1997)
4。《最動人的世界史》(太白文藝出版社,1998)
5。《薩特,波伏瓦和我》(中國三峽出版社,1998)
6。《話多的女人》(作家出版社,1999)
7。《被歷史控制的文學》(湖南美術出版社,1999)
8。《古埃及探秘——尼羅河畔的金字塔世界》(台灣時報出版公司,1994,上海書店出版社,1998,2000重印)
9。《絲綢之路——東方和西方的交流傳奇》(台灣時報出版公司,1994,上海書店出版,1998,2000重印)
10。《中國艷情——中國古代的性與社會》(荷蘭高羅佩著,台灣風雲時代出版有限股份公司,1994)
11。《吸血鬼——暗夜裡尋找生命》(台灣時報出版公司,1995,上海書店出
版社,1998,2000重印)
12。《十字軍東征——以耶路撒冷之名》(台灣時報出版公司,1996,上海書店出版社,1998,2000重印)
13。《亞歷山大大帝——在版圖的最前線》(台灣時報出版公司,1996,上海書店出版社,1998,2000重印)
14。《香料》,(香港三聯書店出版社,2002)
15。《埃及豔后》(上海譯文出版社,2004)
小說:
1。《苔依絲》(漓江出版社(1992,多次再版)
2。《左拉短篇小說選》(湖南文藝出版社,1993,合譯)
3。《羊脂球》(漓江出版社,1993,已重印8次以上)
4。《南方郵航》載《夜航》(接力出版社,1996)
5。《環遊黑海歷險記》(青海人民出版社,1998)
6。《非常關係》(海天出版社,2000 )
7。《終極秘密》(海天出版社,2002)
8。《幸福得如同上帝在法國》(人民文學出版社,2003)
主編:
1。《世界短篇小說名著鑑賞辭典》(合編,燕山出版社,1990)
2。《世界長篇名著精華》(合編,漓江出版社,1992)
3。《馬丁·杜加爾研究》(中國人民大學出版社,1992)
4。《諾貝爾文學獎辭典》(敦煌文藝出版社,1993)
5。《中外愛國詩文名言》(社會科學文獻出版社,1995)
6。《世界著名短篇小說分類文庫》(中國和平出版社,1996)
7。《法朗士精選集》(山東文藝出版社,1997)
8。《大仲馬精選集》(同上,1999)
9。《法國經典戲劇全集,法國卷》(浙江文藝出版社,1999)
10。《法國童話》(海豚出版社,外文出版社,2000)
11。《人類文明畫卷叢書》(26種,重慶出版社,1999)
以上共計47項
已完成和即將出版的成果:
1。“九·五”國家重點項目:《20世紀外國文學史》(5卷)中的《法國文學》部分。(譯林出版社)
2。中國社會科學院重點項目:《法國小說發展史》(浙江大學出版社)
3。文集:《法國文學備忘錄》(人民文學出版社)
4。譯著:《20世紀迷茫的孩子們》(河南人民出版社)

3社會兼職編輯

現為湘潭大學文學與新聞學院特聘教授、比較文學與世界文學研究所所長。中國社會科學院外文所研究員、博士生導師,中國作協會員,法國文學研究會會長。


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康復就在腳下接地氣,頭上卐


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 ○一一年琉璃光雜誌八月刊登了一篇我寫的介紹接地氣康復的書 Earthing,現在有中文翻譯本-接地氣(註)-是作者 Clint Ober 和兩位醫生共同寫的。近年接地氣康復的研究有更深入地認識,赤腳踏地和沙埋療法的醫學根據。地氣能快速的平衡各種生理功能和改變腦波從壓力反應到放鬆反應。有消炎止痛、平衡血糖、降血壓、減肥,對治打鼾、磨牙和免疫功能的毛病。那麼簡單的方法為什麼有那麼多的功效?簡單來說我們地球上的生命不管是人或動物、植物是依賴地球上的頻率演進的,因而一旦與大地絕緣,生命就淍謝,與插在水裏的花一樣,不接地氣的花朵早謝,接地氣的花朵維持新鮮度久一點。。......詳全文



2016年8月26日 星期五

Richard Strauss (1864-1949)

Festive Prelude for large orchestra & organ, Op. 61
"家庭交響曲",但真正的無上神品是開場的"給管弦樂團與管風琴的節慶序曲
Richard Strauss: a composer’s life
Richard Strauss (1864-1949) lived through several musical eras - and shaped them deeply. "Others compose; I make music history," the maestro said at age 80 - with his typical blend of self-confidence and wit.
Richard Strauss
1864 - on June 11, Richard Strauss is born in Munich as the son of horn player Franz Strauss and his wife Josephine.
1881 - In Munich, Hermann Levi conducts the premiere of the D Minor Symphony by 16-year-old Strauss.

1882 - first visit to Bayreuth. Strauss witnesses the world premiere of Richard Wagner‘s "Parsifal." Hermann Levi is the conductor.

1884- First meeting with conductor Hans von Bülow

1885-1886 - At von Bülow’s recommendation, Strauss is named court orchestra director in Meiningen.

1886-1889 - Strauss - along with Hermann Levi and Franz von Fischer - is named third orchestra director at the Munich Court Opera.
1889 - Musical assistant at a performance of "Parsifal" in Bayreuth.

1889-1894 - Court orchestra director in Weimar.
- With the symphonic poem "Don Juan," Strauss achieves his breakthrough as one of Germany's most significant young composers.
1894 - Conducting debut in Bayreuth: Wagner‘s "Tannhäuser." After Hans von Bülow's death, Strauss temporarily takes over as music director of the Berlin Philharmonic's concerts.
- Marriage to soprano Pauline de Ahna.

1896 - Strauss is named principal music director at the Munich Court Opera.
1895-1898 - Premiere of the symphonic poems "Till Eulenspiegel," "Thus Spake Zarathustra" and "Don Quixote" in Cologne and Frankfurt.
1896年11月27日 理查.史特勞斯《查拉圖斯特拉如是說》首演
理查.史特勞斯的《查拉圖斯特拉如是說》算得上是最具有滲透力的古典音樂,尤其是它的開頭透過音樂會、唱片、電視、電影、廣告,如水銀瀉地,堪稱無孔不入。它從法蘭克福的首演開始就獲得成功,中間走過兩次大戰,到今天仍受音樂會的歡迎──只要樂團預算許可,且演出場地有管風琴的話。它的處處可見會讓我們習以為常,忽略掉許多不尋常的地方。
查拉圖斯特拉不是別人,就是創了古波斯祆教的瑣羅亞斯德。尼采既然已經看壞基督教的上帝,於是假托了這位教外人士之口,在一八八五年寫了《查拉圖斯特拉如是說》(或譯《蘇魯支語錄》)。理查.史特勞斯再從八十個篇章中挑了九段,作為音樂發展描摹的依據,一八九五年底動筆,一年之後首演。
尼采的思想文字很有煽惑力與感染力,像個頑強的病毒,只要重入心田,極易開始複製繁衍。從德意志帝國到第三帝國垮台,從結構、解構到後現代,尼采始終存活。如今後現代是個過氣名詞,超譯尼采照樣風行。若是尼采煽惑的對象是作曲家,也就發而為樂。
尤其瑣羅亞斯德是先知,在概念上可極高明,在空間上可極廣闊,在時間上也無涯,這讓理查.史特勞斯有了極廣的發揮空間。其次,理查.史特勞斯又有八十個篇章可供挑選,自由度更高。其結果就是一個聲響上龐大、風格上多岐的《查拉圖斯特拉如是說》。
開頭的段落是信號曲(fanfare),用了天主教的管風琴聲響來撐起古波斯先知的進場(史特勞斯出生的慕尼黑仍有強固的天主教傳統)。由此帶出的段落有以對位寫成,或具有室內樂的精細風格,或是來一段維也納的圓舞曲,也有像〈科學與知識〉一段,主題動用到十二個音,一個也不少,或許代表了十九世紀末歐洲人的樂觀與自滿,認為世間一切在科學的探究下,自然的奧祕盡皆掌握,無一遺漏,但卻也在荀白克之前,預示了十二音列的實際演練。古波斯先知披著上帝的衣袍,約翰史特勞斯與荀白克共舞,巴哈的技法以數倍規模的樂團演奏出來,匯聚成《查拉圖斯特拉如是說》這首作品。
https://www.youtube.com/watch?v=ETveS23djXM
1898 - Named first royal Prussian court orchestra director at the Berlin Court Opera.
1900 - Meets Austrian poet Hugo von Hofmannsthal in Paris; plans made for a joint effort.
1901 - Made president of the General German Music Association.

1903 - Co-founder of the German Composers' Society, established to represent composers' rights.
1904 - Trip to the US. Strauss conducts the world premiere of the "Symphonia domestica" in New York's Carnegie Hall.
1905 - Premiere of "Salome" at the Dresden Court Opera, now the Semper Opera. Critics are appalled. About his court orchestra director, Emperor Wilhelm II. fumes, "I've nourished a beautiful snake at my breast!" Gustav Mahler enthuses: "An utterly ingenious, very strong work."

Starting in 1906 - First collaboration with librettist Hugo Hofmannsthal; several operas ensue in the following years.
1908 - General music director in Berlin and director of the court orchestra.
1909 - January 25: premiere of the tragedy "Elektra" in Dresden.

1911 - January 26: premiere of the comedy "Der Rosenkavalier" in Dresden. Ernst von Schuch, who conducted the performance, reports: "An unprecedented outburst of ovations in the theater. Probably the most beautiful thing ever written."

1915 - Premiere of Strauss' symphonic poem "An Alpine Symphony" in Berlin: "A kitschy post card in notes," is the verdict of some, while others call it "an Alpine tapestry in sound."
- Co-founder of the "Society for Musical Performance Rights" (now known as GEMA).

1917 - Strauss, Hofmannsthal and Max Reinhardt co-initiate the Salzburg Festival.
1919 - Along with conductor Franz Schalk, Strauss is named director of the Vienna State Opera.
1924 - Strauss resigns from the Vienna Opera and lives as a freelance composer and conductor in Vienna and Garmisch-Partenkirchen.

1929 - The death of his partner Hugo von Hofmannsthal upsets Strauss deeply. He begins to look for a new librettist.
1931 - First meeting with Jewish-born writer Stefan Zweig.

1933 - Cooperation with the National Socialists: Strauss is named president of the Reich Music Chamber.
1935 - "Die schweigsame Frau" premieres in Dresden. Strauss' support of librettist Stefan Zweig causes friction with the regime. The opera is banned in Germany. Strauss is forced to step down as president of the Reich Music Chamber.
1936 - At the opening of the Olympic Games in Berlin, Strauss conducts his "Olympic Hymn," commissioned by the International Olympic Committee in Lausanne in 1932.
1939-1945 - Work mostly as a conductor during the Second World War in Vienna and elsewhere.
1945 - The composer witnesses the end of the war in Garmisch-Partenkirchen. In "mourning over Munich," he writes his "Metamorphoses" for 23 solo strings, calling it “a reflection of my entire life."
- Strauss' mansion in Garmisch-Partenkirchen is occupied by American troops. Strauss moves to Switzerland to avoid being named a Nazi collaborator by the American war commission.
1948 - In June, the de-Nazification trial in Garmisch-Partenkirchen is adjourned: Strauss is classified as "not guilty."
- "Four Last Songs" composed and first performed post-mortem in London by soprano Kirsten Flagstad.
1949 - Return to Garmisch-Partenkirchen; on September 8 Richard Strauss dies, at age 85.

Richard Strauss and musical seduction

The composer, conductor, professional and maestro of self-promotion was born 150 years ago. But one shadow hangs over Richard Strauss: his ambivalent attitude to the Nazi regime.
Richard Strauss
The trumpet melody with its slow build and increasing force that accompanies the opening of Stanley Kubrick's "2001: A Space Odyssey" is a classic. Kubrik used the sensual and metaphysical power of the composition - originally scored by Richard Strauss as a sunrise in his rendition of Nietzsche's "Thus Spake Zarathustra" - as a backdrop to the gradual rise of the sun in his extra-terrestrial world.
Walter Werbeck, who has written a Richard Strauss handbook to mark this anniversary year, talks in terms of the composer's "sensual effects" and "orchestral brilliance," which he combines with drive and energy. "Music that appears to evoke a new era of music, and which in terms of orchestral and aural technique outdid everything - even by Wagner - heard theretofore."
Richard Strauss was born on June 11, 1864, and to mark the passing of 150 years, his operas, orchestral works and lieder are gracing stages up and down the country. His richly instrumented symphonic poems, songs, chamber music, and operas such as "Arabella," "Salome," "Elektra" and "The Woman without a Shadow" are known and loved all over the world.
Public relations genius
Richard Strauss
The young composer
Strauss had an unerring sense of what would help him and his music to success, and according Daniel Ender, whose book "Meister der Inszenierungen" (Master of Staging) was published this year, he was a man of considerable marketing talent.
"He ensured that he made it into the public eye," Ender told DW. "And he did it by establishing a network of journalist friends who painted a positive picture of him as a modest man who continued to churn out new works. They then went on to depict the details of these works, which made the public curious." His planned use of exotic musical instruments such as the wind machine in his "Alpine Symphony" was announced in the press. "He always had his fingers in the mix," Ender said.
Playbill for the premiere of Salome, 1905
Scandalous
The opera "Salome" was probably the most significant among his calculated scandals and successes. Its captivating, unsettling eroticism made it the stage event of 1905 and 1906. Although the seduction scene, the "Dance of the Seven Veils," led to its erstwhile prohibition, it remained a hit across Europe.
Werbeck says it was thoroughly in keeping for Strauss to combine "orchestral brilliance and a polished tone technique with a sensationalist plot." He describes the composer's decision to cast the biblical figure of Salome as a contemporary femme fatal "very modern and very attractive."
In other operas, such as "The Rosenkavalier," Strauss brought to the stage a world which Werbeck says "didn’t really exist any more by the time the piece premiered in 1911. Yet by looking at it through a nostalgic prism, he managed to make it seem intact."
A helping hand
In his capacity as a conductor, Strauss actively supported other composers. He was an energetic player on the cultural-political scene and an advocate of artists' rights. In order to improve the social status of composers, he pushed for the formulation of a new copyright law. As such, Werbeck told DW, the composer welcomed the 1933 political rise of Adolf Hitler - a Wagner lover and a self-professed artist. Strauss hoped the new leader would place greater importance on the arts, and on music in particular.
Richard Strauss as an old man at his home in Garmisch-Partenkirchen
At home in Garmisch-Partenkirchen
Strauss was made president of the Reichsmusikkammer, the official state music bureau for the promotion of what the regime deemed to be good German music. He did not last long in that office however, which Ender attributes in part to the fact that after his success with the overhaul of copyright law, he was unable to implement further reform plans.
What's more, Strauss clashed with the regime in matters of taste and on questions of culture. "Strauss placed massive importance on being a cultivated human being, and was disappointed by the Nazis," Ender said. Although no longer Reichsmusikkammerpresident, Strauss did come to an understanding with the regime in the years to follow - in part to protect his Jewish daughter-in-law and grandchildren.
Table in a bookstore filled with books on Richard Strauss
No dearth of Strauss biographies this year
"From what we can tell, he was not a Nazi by conviction, and it is important to be clear on that point," Ender said, adding that what was important for him during the Hitler era was that his work be played. "His opportunistic approach worked well for the Nazis."
The here and now
Despite the ambivalence in his behavior, Strauss was always convinced that he was the last great composer of Western music tradition. His strong sense of ego bears hints of hubris, and his rigorous rejection of atonal and twelve-tone music brought him considerable criticism and contempt from 20th century composers and music theorists.
But he stuck to his own style, and continued in the late Romantic tradition decades after it had been declared history. His operas and instrumental pieces have survived the critics and the test of time, and they continue to touch and seduce music lovers a century later.








This coming week we'll be celebrating the 150th anniversary of Richard Strauss' birth. Take a deep dive into Strauss with this hour-long special that explores his dedication to his art, as reflected in his grand orchestral works and his unforgettable operas.
Richard Strauss was a hard man to pin down. As an artist, he was never tied to a single style. He embraced many musical forms during his lifetime. There was only one guiding principle: his belief that music is a holy art.
WQXR.ORG





Behind Richard Strauss's Murky Relationship with the Nazis

Thursday, June 05, 2014


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June 11 is the 150th anniversary of Richard Strauss's birth—an occasion to celebrate and also to raise questions about the composer and his actions during the Nazi era.
In 1933, Strauss accepted a high-profile job from the Nazis, when propaganda minister Joseph Goebbels named him president of the Reichsmusikkammer, the State Music Bureau. Strauss wrote pieces for the Nazis including "Das Bächlein," a song dedicated to Goebbels. And he even wrote at least one letter pledging his loyalty to Hitler.
But Strauss's defenders note that he eventually lost the Nazi post for insisting that Stefan Zweig – the Jewish librettist of his comic opera Die Schweigsame Frau – should appear in the program at the premiere in Dresden, in 1935. And Strauss may have helped save several Jewish lives later in the war. He emerged from his postwar de-Nazification hearing with no official taint.
So was Strauss a hero, a bad actor, or something else? In this week's episode, we’re joined by two Strauss experts to sort through these questions:
  • Erik Levi, author of Mozart and the Nazis and Music in the Third Reich, and a professor of music at Royal Holloway, University of London.
  • Bryan Gilliam, a professor of humanities at Duke University and author of several books on Strauss including Rounding Wagner's Mountain: Richard Strauss and Modern German Opera.

Segment Highlights

On Strauss's relationship to the Nazis
Levi: Initially he was an enthusiastic advocate [of the Nazis]. Remember that we were experiencing in the 1920s a period of tremendous economic fluctuation and a lot of composers on the bread line. What Strauss wanted to do was bring stability to the composing profession, and this was what was promised to him.
Gilliam: I wouldn't say he was pro-Nazi ideology; he was pro-Richard Strauss ideology. He was an opportunist. I don't think he was excited ever about any government. He'd be excited over a government that gave him opportunities for work and commissions and the like. His ideology was Richard Strauss. There's an exception here: his son, Franz, was enthusiastic...

The Music That Strauss Composed for the Nazis
Levi on the Olympic Hymn of 1936: He didn't share much enthusiasm for the idea of writing something for the sporting event. But he was keen to promote himself and a big event like the Berlin Olympic games was an event where he could occupy center stage. It's a piece of jobbery really.
Gilliam: The Olympic Hymn poem was by a half-Jewish poet. He sat next to Hitler at the ceremony.

On the Moral Implications of the Music Strauss wrote under the Nazi regime
Levi: We have to divorce the music from the man. Some past composers in history have been terribly unpleasant people with unpleasant views. It is a thicket. We need to mention a piece like Metamorphosen, written at the end of the war, where you really sense the agony and the grief for the destruction of Germany. The destruction of Germany was wrought by Hitler and his gang, and this music really speaks to the heart that few other works of the 20th century do.
Gilliam: I don't find anything heroic about Strauss, but as a musician, I am absolutely mesmerized by one of the most brilliant artistic individuals of the 20th century.
Listen to the segment above and leave a comment below: Should Strauss have spoken out more forcefully against the Nazis? Do you find his Nazi-era works problematic?

 . Richard Strauss: Metamorphosen
Composed in 1945, Strauss’s Metamorphosen, a work for 23 solo strings, contains Strauss's most sustained outpouring of tragic emotion. The work was written as a statement of mourning for Germany's destruction during the war, in particular the bombing of the Munich Opera House and the Goethehaus. According to Michael Kennedy's biography Richard Strauss: Man, Musician, Enigma (1999), one hostile early critic interpreted the composition as mourning Hitler and the Nazi regime. But Strauss had written the words "In Memoriam" over a quotation from Beethoven's Eroica Symphony as a way to symbolize the toll of war on the German culture and aesthetic in general. As he wrote in his diary:
    "The most terrible period of human history (is at) an end, the twelve year reign of bestiality, ignorance and anti-culture under the greatest criminals, during which Germany's 2000 years of cultural evolution met its doom."





2014;the 150th birthday of Richard Strauss.
Richard Strauss: Wilhelm, Kurt

Richard Strauss

Wilhelm, Kurt

Published by Thames & Hudson, 1989
 我記得近10年前,我讀過一夲北京人民音樂出版社翻譯自德文的
 Richard Strauss。這本書Richard Strauss: An Intimate Portrait,在圖片等方面更好。

 入門
 http://en.wikipedia.org/wiki/Richard_Strauss

Richard Strauss: An Intimate Portrait

Front Cover
Thames and Hudson, 1989 - Biography & Autobiography - 312 pages
Richard Strauss (1864-1949) always claimed that his music was a self-portrait, that he depicted himself, his nature, and his world in musical notes. From the charming autobiographical opera Intermezzo, based on a domestic misunderstanding, to the self-confident tone poem Ein Heldenleben, the composer's works relate to his personal experience as closely as those of any


nineteenth-century Romantic. For the huge audience that enjoys the music of Strauss, Kurt Wilhelm's book has proved to be a cornucopia of information.
Many of the numerous illustration -- taken from the private archive of the Strauss family -- have never been published previously, and all are of immense historical interest. Skillfully woven around them is a detailed and revealing text, rich in anecdotes, quotations, and personal reminiscences by members of the Strauss family and contemporaries. The result is an intimate investigation of the private life, opinions, background, and works of Strauss that comes as close to the man as one is likely to get.

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