1130 2013 六

謝謝卡洛的"請假"----爸爸千萬倍寶貴.....
*****
12月9日(星期一) 新書慶祝遊山玩水
兩位老兄:
這趟請Ken當嚮導 付帳的由我來
目前我 玉燕忠信香燕一車   行程如下
約9點台北出發  約10點半遊十八尖山
我們中午在清華用餐---到蘇格拉底咖啡廳或水木清華.
下午想請張教授借個教室 約花1小時半 談談今年各人的新書.
然後到國維家喝杯下午茶
傍晚到新竹的廟前或Ken上次介紹食堂晚餐....

****唐香燕來信

謝謝漢清兄介紹我的書。

在無限的臉書（Mobius/無限出版）上放了一些我提供的照片。原先出版社是有意在書上放照片，叫我去找些照片提供的。後因種種原由，大概是他們的編輯理念認為文字夠了，不需照片，就沒有放照片在書上。我私心是希望我爸媽的照片能放在書上的......

抱歉只有請大家直接去看我的文字了，或上無線臉書看些照片。

****
我匆匆讀唐著新書---最喜歡書中的四篇家書.....此外:

這篇感人的友情紀錄《逝者如斯》，原發表在2008年12月號的《新地文學季刊‧唐文標專輯》 (頁272-294)。收入本書時，似乎只改章名為《一九七九，動盪美麗島：側記唐文標》 (頁102-140)，更清楚而具體。

我的這本《新地文學季刊》是2009年許達然老師寄贈的，再次跟許老師說聲謝謝。我記得當時讀完時，鼓勵唐學姊多寫……。今天我更覺得這一篇，的確是昔日專輯的鎮卷之寶。

--- 「我和唐香燕，以前只是點頭之交。三年前吧，紐約友人傳來一篇香燕追憶唐文標的文章——網路時代真奇妙，我們住同一個城市，卻透過太平洋和北美洲來回輾轉引 介——三十年多前的往事、人物，那些側聞的，只有輪廓的，在她的筆下， 鮮活靈動來到眼前。情真意切，文字乾淨、準確、節制、優美。從那一刻起，我成了唐香燕的讀迷。------胡慧玲為唐香燕著《長歌行過美麗島--寫給年輕的你》的推薦序 〈我們的長歌行〉面


 "側記"/《新地文學季刊‧唐文標專輯》的優點是可以從唐的其他朋友的不同交情面向去了解"唐大俠"...





通告
台北或新竹的朋友/校友:
有興趣的朋友歡迎加入我們的"十八尖山-清華"之旅 (慶祝新書出版---長歌行過美麗島：寫給年輕的你 (唐香燕) )
預計12月9日(星期一約9點台北出發、晚上7點半回台北--參加者只須自行負責"交通".....細節後補)造訪新竹的錦坤兄、國維兄、或張旺山教授和吳國精董事長........等.....
報名
鍾 漢清
電話：（02）  23650127
hcsimonl@gmail.com

 台北或新竹的朋友/校友:
有興趣的朋友歡迎加入我們的"十八尖山-清華"之旅 (慶祝新書出版---長歌行過美麗島：寫給年輕的你 (唐香燕) )

預計12月9日(星期一約9點台北出發、晚上7點半回台北--參加者只須自行負責"交通".....細節後補)造訪新竹的錦坤兄、國維兄、或張旺山教授和吳國精董事長........等.....
報名
鍾 漢清
電話：（02）  23650127
hcsimonl@gmail.com
Hanching Chung (or HC/ hc)

長歌行過美麗島：寫給年輕的你 (唐香燕) 是我今年送親友的聖誕禮物--很感人 ( 這本有我提倡的家庭史的雛形---起碼就我們熟人而言/   萬一你沒碰到我/收到書. 你其實還是我的好友的.....

可惜書無照片(因一張圖可能勝過千言史的雛形萬語.....) 索引 (朋友新書我可當製印索引的義工: 參考我去年編的《長青：陳寬仁八秩紀念文集》序引)  ......等)
 胡適訪台留言失敗

前天跟鄧學長說幾年前在臺大圖書館見過《東海大學勞作文化》 今天查一下. 竟然有兩本. 該圖書館還收藏東海的50年校史一書 "東海大學聖樂團活動紀實 / 謝鶯興編
臺中市 : 東海大學圖書館, 民101[2012]"......由於日本的東海大學也小有名氣.所以必須判讀之:

這當然是值班探討的主題 雖然手頭沒有那本探討建築與National Identity 的書. 不過想想政治建築必與政治文學同樣久遠.....朋友開混凝土的課我建議他專章討論它與20世紀政治建築....柯比意LE CORBUSIER國葬---日本電視轉播、各大都市的city images 與建築.....

Q. and A.

Umberto Eco: Exploring Imaginary Lands With One of Italy’s Masters of Fiction

Giovanna Silva

The author Umberto Eco at his home in Milan. He has collected more than 50,000 books.

By STEPHEN HEYMAN

Published: November 27, 2013

Umberto Eco, 81, the Italian semiotician and globally successful novelist, is an insatiable bibliophile. He has collected more than 50,000 books, and has a particular passion for volumes on imaginary, occult or even bogus subjects.

“I am interested in fakes, in falsity,” he said in an interview. “I don’t have Galileo, but I have Ptolemy, because he was wrong.”

Rifling through his library, Mr. Eco assembled “The Book of Legendary Lands” (Rizzoli ex Libris, $45), an illustrated survey of mythic places — Atlantis, El Dorado, Camelot — and the real imprint they’ve left on history.

The book is the latest of Mr. Eco’s brainy coffee table volumes; earlier ones have collected art and ideas about beauty, ugliness and “the infinity of lists.” Reached by telephone at his country house near Rimini, Mr. Eco spoke about his latest “erudite divertissement” and the decline of Italian culture (but not its crime fiction). Here is an edited excerpt of the conversation.

Q. Your new book begins with a falsehood that has endured to the present: That people in the Middle Ages thought the earth was flat.

A. Yes, and even cultivated people still repeat it to this day. The official culture in the Middle Ages was absolutely convinced that the earth was spherical and they accepted the Greek idea of the measure of the equator. It’s just intellectual and cultural laziness. We are also continuously told that during the Middle Ages they burned witches, when the real burning of witches started in the Renaissance.

Q. What are you at work on now?

A. I am in turmoil over a very complex story. In the States, they publish an enormous collection of books called “The Library of Living Philosophers.” It started with John Dewey and Bertrand Russell and the last book was about Richard Rorty. For mysterious reasons — probably because there is nobody else is around — they chose me for the next one. These are books of 1,500 pages. I am supposed to write 100 pages of philosophical autobiography. And there are 25 people, working at this moment, each writing a paper on my philosophical activity. And I am supposed to read all of them and to respond to each of them with at least three or four pages each. I think I have two years to work on it, and I am hoping to die before I have to do it.

Q. Are you skeptical about all the reports about the decline of Italian culture?

A. What decline? There is me! [Laughs] I think that nobody is able to evaluate the period in which he or she lives. I think when Joyce was publishing his first book there were a lot of people in Ireland saying Irish culture is in complete decline. The one who will be considered the greatest writer of the 21st century is in this moment alive but we don’t recognize him.

Q. You’ve said that the detective novel is a barometer of narrative production in any country. By that metric, where does Italy rank?

A. Narrativity presumes a special taste for plot. And this taste for plot was always very present in the Anglo-Saxon countries and that explains their high quality of detective novels. It is absolutely true that until recently there was nothing in Italian similar to Agatha Christie or Ian Fleming, not to speak of Sherlock Holmes. But there is something new. As in the Swedish culture, where there was an enormous birth of crime stories, in Italy for the past 20 years, there’s been a great production of good-quality detective stories. It’s a miracle — suddenly the Italian culture discovered the art of the plot.

Q. What changed?

A. We had in the last 50 years many mysteries in our country that probably excited the imagination young writers. Political and criminal mysteries, certain unexplained links between 1970s terrorism and political groups. There’s the case of Emanuela Orlandi, a girl living in the Vatican in a family of officials of the Vatican state, who disappeared 30 years ago. We still do not know if she is alive and why she was kidnapped. The history of Italy is full of stories like that.

Q. You often talk about wanting your books to outlive you. Why are you so preoccupied with the survival of your work?

A. Every writer, every artist, every musician, scientist is profoundly interested in the survival of his or her work after their death. Otherwise they would be idiots. Do you believe that Raphael was not interested in what happened to his paintings after his death? It’s another side of the normal human desire to survive personally in some way, and that is the root of every religion. That is essential if you work on something creative to have this hope. Otherwise you are only a person doing something to make money, to have women and Champagne. You don’t love your work if you don’t hope so.  Slavoj Zizek: Architectural Parallax: Spandrels and Other Phenomena of Class Struggle


"... Recall what Walter Benjamin wrote about the Garnier opera palace in Paris: the true focus of the opera is not the performance hall but the wide oval staircase on which high society ladies display their fashion and gentlemen meet for a casual smoke – this social life was the true focus of opera life, “what it really was about.” In the terms of Lacan’s theory, if the play on stage was the enjoyment which made the public come, the social game which went on on the staircase before the performance and during the intermissions was the fore-play which provided the plus-de-jouir, the surplus-enjoyment making it worthwhile to come there...

... What should draw our attention here is that Gould and Lewontin borrowed the architectural term “spandrel” (using the pendentives of San Marco in Venice as an example) to designate the class of forms and spaces that arise as necessary byproducts of another decision in design, and not as adaptations for direct utility in themselves. In architecture, the prototypical spandrel is the triangular space “left over” on top, when a rectangular wall is pierced by a passageway capped with a rounded arch. By extension, a spandrel is any geometric configuration of space inevitably left over as a consequence of other architectural decisions. Say, the spaces between the pillars of a bridge can subsequently be used by homeless persons for sleeping, even though such spaces were not designed for providing such shelter. And as the church spandrels may then incidentally become the locus for decorations such as portraits of the four evangelists, so anatomical spandrels may be co-opted for uses that they were not selected for in the first place.

Are, then, – back to my main line – the “interstitial spaces” opened up by the “disconnection between skin and structure” in performance-arts venues not such spandrels, functionally empty spaces open for exaptation? The struggle is open here – the struggle for who will appropriate them. These “interstitial spaces” are thus the proper place for utopian dreaming – they remind us of architecture’s great politico-ethical responsibility: much more is at stake in design than it may appear. Recall William Butler Yeats’ well-known lines: “I have spread my dreams under your feet, / Tread softly because you tread on my dreams.” They refer also to architecture, so my warning to architecture is: when you are making your plans, tread softly because you tread on the dreams of the people who will live in and look at your buildings."

http://webcache.googleusercontent.com/search?q=cache%3ABS-eC6IBxX4J%3Awww.lacan.com%2Fessays%2F%3Fpage_id%3D218+&cd=1&hl=en&ct=clnk

曾成德 spandrels 在翻譯時究竟該如何處理的確讓我想了一會兒. 原因是 spandrels 在當代建築中具有古典建築中沒有的意涵. 在帷幕牆系統中 spandrels 是個重要的構件. 通常被翻譯成的有: 窗間板, 層窗間牆等. 紀杰克文中一方面借用 Gould and Lewontin 對聖馬可的演繹, 一方面引用詹明信對 James Stirling 作品的分析, 討論雙層皮之間的間隙. 再申論為如同層樓窗間遮檔用, 不透明的 spandrels 然而卻可衍生他用.
這個詞兒大家如有更好的講法請不吝告知.
非常謝謝 Hanching 兄指正並提供 W.B.Yeats 原典出處.

15分鐘前 · 已編輯 · 讚

Hanching Chung 這篇更重要的經典 建築文章之歪風之一是掉書袋 faculty.washington.edu/lynnhank/GouldLewontin.pdf

Hanching Chung 障版的翻譯很生硬http://dictionary.goo.ne.jp/....../---這篇或許可當成建築英文來教學:它......(原文/英文版本網路上可能都可以找得到譬如說Gould的文章 Yeats的詩 HAD I the heavens’ embroidered cloths,
Enwrought with golden and silver light,
The blue and the dim and the dark cloths
Of night and light and the half light,
I would spread the cloths under your feet:
But I, being poor, have only my dreams;
I have spread my dreams under your feet;
Tread softly because you tread on my dreams.

HAD I the heavens’ embroidered cloths,
Enwrought with golden and silver light,
The blue and the dim and the dark cloths
Of night and light and the half light,
I would spread the cloths under your feet:
But I, being poor, have only my dreams;
I have spread my dreams under your feet;
Tread softly because you tread on my dreams.

W.B. Yeats (1865–1939)
"He Wishes For the Cloths of Heaven"
from the Collected Works of W.B. Yeats