2012年6月8日 星期五

0609 2012 六晴





9點多才起來 半夜多讀 Gershom Scholem A Life in Letters, 1914-1982
 Harold Bloom: An Uncommon Reader/ Elliot R. Wolfso...
 
《司馬遷之人格與風格》
作者:李長之著

出版社:台北:開明 1968 (無作者名 70年代初每年一刷)      /里仁書局 1997年/天津人民
1971年大一的參考書 1974 "顧肇森"本 ---2012年重讀書末司馬遷的諷刺語法--
《李長之文集》是在臺灣大學圖書館翻的 簡體字甚劣 難看
據說他因寫過批評魯迅的文字而終生抬不起頭來《司馬遷之人格與風格》《項羽與劉邦》《獨往集》《李長之文集》



  《特朗斯特羅姆詩歌全集》
到半夜才發現我的這本精裝書中間多了約31頁--原先以為是故意將時間倒錯
作者: [瑞典] 托馬斯·特朗斯特羅姆譯者: 李笠出版社: 四川文藝出版社出版年: 2012-3頁數: 370
下段詩歌翻譯很差



 李笠1987.10 認識訪Tomas

Award Ceremony Speech

Presentation Speech by Kjell Espmark, Member of the Swedish Academy, Member of its Nobel Committee, 10 December 2011.
Your Majesties, Your Royal Highnesses, esteemed Laureates, Ladies and Gentlemen,

Tomas Tranströmer is one of the very few Swedish writers with an influence on world literature. He has been translated into some sixty languages, and has been important to poetry in various parts of the world. The Nobel Laureate Joseph Brodsky admits that he stole more than one metaphor from him. And during a journey among Chinese poets a year ago I found that Tranströmer is their great model.
Why? Is it the brilliant metaphors? I think that is only half the truth. The other half is the visions, the illuminations in everyday life into which the metaphors have been inserted.
Let us consider "Carillon" – "chimes" – where we find the poet in a shabby hotel in Bruges, lying on the bed with his arms stretched out, "an anchor that has dug itself down and holds steady / the huge shadow floating up there / the great unknown". Or think of the picture of defencelessness in the line, "I have low beaches, if death rises six inches I shall be flooded." What is important is not such separate images but the overall vision where they form a part. The easily flooded poet is the defenceless centre where now different epochs, now far and near converge. Also the anchor chain from the great unknown centres towards this unpretentious subject. But, in this poem, there is an opposite movement as well. The room's window faces "The Wild Market Square" and the condition of the soul is projected there: "What I carry within me is materialised there, all terrors, all expectations." There is a movement both inwards and outwards. Once "the sack splits along its seams and the chimes roll out across Flanders", next time the same bells "bear us home" on their wings. The metaphors lend a sensuous precision to this huge breathing. Remarkably, this complex text is almost weightless, and speaks immediately to our senses.
There is a similar huge breathing in Baltics. The striking images for understanding versus blockage have been integrated into an interplay between "great doors opening and great doors closing", between one breath of wind "sighing about other shores" and another leaving the place "desolate and silent".
But the movement of Tranströmer's universe is primarily directed towards the centre. His illuminations gather widespread phenomena in one translucent present. We remember from Secrets on the Way the "room that contained every moment – a butterfly museum". In tacit polemics against colleagues groping for heaven, he begins his first book of poetry with the words, "Waking up is a parachute jump from dreams." This is a genuine Tranströmer sinking into the centre, towards an earthly summer.
In "Schubertiana", the precision of this movement towards the centre is caught by the image of the swallows flying for six weeks over two continents "to last year's nest under the guttering of this very barn in this very parish". Their flight towards "precisely this vanishing dot in the land-mass" corresponds to the way Schubert "catches the signals from a whole life in a few ordinary chords for five strings".
Tranströmer's development has moved towards ever greater openness. His Swedish geography has expanded into the shimmering spiral galaxy of New York and the crowds of Shanghai getting "our silent planet going with their tramping". And fragments of world politics now and then glitter in the poems. At the same time the picture of unpretentiousness becomes clearer: "I have graduated from the university of oblivion and am as empty-handed as the shirt on the washing-line." With this relaxed authority, Tranströmer can speak for many of us. Even at an early stage he says, "Each man is a half-open door / leading to a room for everyone." This is where we are at last – the room that once contained every moment now contains all of us.
Dear Tomas.

It is a great pleasure for me to convey to you the warmest congratulations of the Swedish Academy and to ask you to come forward to receive the Nobel Prize in Literature from the hands of His Majesty the King.


 1905 再改
 Balakirev began his First Symphony after completing the Second Overture but cut work short to concentrate on the Overture on Czech Themes,
  


The Swedish poet Tomas Transtromer, who won the 2011 Nobel Prize for Literature on Thursday, is the first Swede to win the prize since 1974. Julie Bosman writes that Mr. Transtromer’s “sometimes bleak but powerful work explores themes of nature, isolation and identity.”
In this undated audio clip, Mr. Transtromer discusses and reads his poem, “Schubertiana.” The poem, which consists of five numbered stanzas, “is not a poem about the life of Franz Schubert,” he says, “it’s a poem about what music means to me and to mankind.”
In addition, a Google Books excerpt of one of Mr. Transtromer’s translated collections of poetry can be found here:

 -ana
 or -iana
suff.
A collection of items relating to a specified person or place: Americana.

[New Latin -āna, from Latin, neuter pl. of -ānus, adj. and n. suff.. See -an1.]

-ana[-a・na]

  • 発音記号[-ǽnə, -ɑ'ːnə | -ɑ'ːnə]
((人名・地名などのあとにつけて))「語録・逸話集・資料集・文献」‖Americana.



全集英譯
http://books.google.com.tw/books?id=r_t4QO2Ub5YC&printsec=frontcover&dq=&redir_esc=y#v=onepage&q&f=false

李笠

.诗人,翻译家

生于1961年1月20日上海   1979年考上北京外国语学院瑞典语系   1983年被分配到“人民画报”社工作   1988年秋定居瑞典   1988至1992年在斯德哥尔摩大学读瑞典现代文学   1989年出版用瑞典文写的诗集《水中的目光》   以后又发表四部诗集,它们是   《时间的重量》(1990)   《逃》(1994)   《归》(1995)   《栖居地是你》(1999)   除写诗外,他还翻译了大量的北欧诗歌。其中包括2004年获“新诗界北斗星奖”的瑞典诗人   特朗斯特罗姆[1](2011年诺贝尔文学奖获得者)的诗全集.他还制作了一系列风景配诗电视短片,其中有五部先后在瑞典电视台播出.

午間  YY說 INK的老孟專集 99 元 晚上他同學聚餐



 晚餐活動中心 NTU 亞洲20
花2小時改
 Arthur David Waley/ Madly Singing in the Mountains...



David Hawkes' translations include:
  • Ch'u Tz'u: the Songs of the South, an Ancient Chinese Anthology. (1959, revised 1985)
  • A Little Primer of Tu Fu. (1967)
  • The Story of the Stone: a Chinese Novel in Five Volumes. (1973–1980. Hawkes was responsible for volumes 1–3, chapters 1-80)
  • Liu Yi and the Dragon Princess. (Arias published in 2001, now to be published in entirety).

Liu Yi and the Dragon Princess
This is an adaptation of the thirteenth-century zaju play Liu Yi Chuan Shu, which was itself based on an eighth-century fairy tale about a failed examination candidate's encounter with a shepherdess in ... Google Books

柳毅傳書,也作柳毅奇緣,是中國四大民間傳説之一,起源於唐代高宗年間由李朝威所著的傳奇小説《柳毅傳》。

故事梗概

故事講述湖北人柳毅在前往長安赴考途中,在涇陽遇到一位女子在冰天雪地中牧羊。多次打聽之下,才知道原來對方乃是洞庭湖的龍宮三公主,遠嫁給涇水龍王十太子。可惜小龍王生性風流,娶妻之後不單沒有洞過房,連碰也沒有碰過她。三公主獨守空房之餘,又被翁姑欺凌,帶負責降雨降雪的羊群到江邊放牧。周遭水族禽鳥懾於龍王聲威,都不敢為三公主傳書回家求救。柳毅義憤填膺,答應放棄科舉的機會返回家鄉送信。
柳毅回到洞庭湖畔,為三公主送信往龍宮。但洞庭君礙於與涇陽君的多代姻緣,想息事寧人,洞庭君的弟弟錢塘君則大表氣憤,並帶同水軍前往解救三公主, 並殺了涇水十太子。三公主回宮後,為柳毅奉酒答謝。錢塘君見二人眉目傳情,欲撮合二人。但柳毅礙於沒有媒人作中介,以及介懷自己間接殺了三公主的丈夫,所 以拒絕了婚事。
柳毅回到地面之後,經常望湖興嘆;而三公主亦對柳毅日夜掛念。雙方家長為了子女的前途而大然思量。柳毅的母親決意為柳毅尋找媳婦;而錢塘君由於錯手殺了三公主的丈夫而耿耿於懷,決意化身為媒婆前往柳家說媒。二人於是有情人終成眷屬。

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