2015年1月18日 星期日

0118 2015 日


第3"天"introduction的翻譯。
這些平常日。晚餐yy買配肉,她今天的三寶雞肉骨有血絲,很後悔:政府的禽流感管理不力,台灣將有半年以上疫情。豬肉又漲回84元/斤。
下午讓地板有水滴,下電梯時心想怕人滑倒,又上去,用廢棄布清。忘記取出鑰匙,又回去取。yy不在。.....晚上清棄這5~6年的廢布。

周董昆...英國結婚2300萬,親友20人,200萬一


柯文哲下午到高雄探訪陳水扁病情,...午餐賴清德.......
柯P到人文首璽


溫肇東:《左派商學院:以人為本,勇於創新求異》 Business As If People Mattered

 溫肇東:《左派商學院:以人為本,勇於創新求異 》 (Business As If People Mattered) ,台北:天下文化,2014

「我甚至認為,所有的作家都應該是左派,寫的東西才會有藝術性和內容」。......「左派的定義,以人民利益為利益,對我而言,就這麼簡單。任何和人民利益作對的,我一定反對到底」。
---張瑞芬《解釋學的春天-許達然的社會主義,詩與文學" (2008)

最後要建議讀者的是,在讀本書時,先看「後記」部分,因為這樣,我們可以先認識本書作者溫肇東教授的成長背景和歷練,才能體會他在書中所說的每一句話和每一件事的深義,也更能了解為什麼他會這樣想、這樣說的緣由。---許士軍《推薦序  人是經營管理的核心》


Dear 溫學長:
我要送您的書,您都忘了拿。可能增加您的書的壓力。
翻幾篇大作,談點感想。
您找的4位"推薦序"的作者和文章言之有物的,很難得。
首先,二本書可以考慮做索引。雖然天下文化不會做。
其次,我想起Peter Drucker的許多書也是文集,不過他的每篇的篇幅可能是大作的5~6倍以上,所以可以給人更完整論述的感覺;您的是多種題材,字數受到雜誌報紙的要求限制。
您的書名和3部的英文名都很妙,中文似乎不能盡其意。不過,採用文集的方式最好在各部之前作短篇導論,這是"系統"的要求。
在文章中的某些說法,也可以給更新資料,譬如說您2009年某篇預測中國的車市成為全球需求之最,似可補充。又譬如說,130頁(2009)介紹的「農友種苗公司」創辦人業已過逝:陳文郁(1925年11月20日-2012年12月7日,台灣台南縣永康人,台灣蔬果育種家,1968年創立「農友種苗公司」,為農友社福基金會董事長。.....Wikipedia)
另外,名詞的問題,fast prototyping 、rent、configuration和 availability 等等,都是未標準化的說法。另外是表示法的不一致,如直接面對消費者 (2C,p.144) vs "對一個to B的公司 (p.138)。

關於《 後記》的說話方式,說不定更好的方式是採取訪問,由你您講出每一重要出差/經歷的主要反思。

《左派商學院》內可看出台灣管理學界的諸多面向和限制,譬如說,張明正先生的推荐序中提到約2004年他贊助70位MBA老師到哈佛大學體驗......"回來之後,許多老師開始指導學生寫個案,沒想到竟無以為繼。" 溫教授在"管窺哈佛管理教育"一文(頁206-11,2005年)就有答案。
其實,70年代初,政大企管研究所即已出版數本台灣的企管個案集,.....換句話說,台灣資源過份分散,各大學各搞個的,譬如說臺大也學個案研究,進一步說,政大內部的企管研究所和科技管理研究所分台北、木柵兩地經營.....。)

以上說的,只是些膚淺說法。

----
江燦騰:從現實的歷史經驗來看,這是最大的學術謊言之一。
-----
溫:都蘭山下畫家一石一木的布局

hC(Me):" 一石一木 "在此脈絡不知何意?在魯迅或左派意義上,是書名的方案,譬如說,"科技創新管理的一石一木"。
一木一石的精神

作者:夏衍

  我不想寫所謂「紀念文章」。魯迅先生生前,不僅反對那些「謬托知己」式的應景文字,而且痛惡一切將他叫做領袖導師之類的稱謂。但,在今天,我卻從他的這種一貫的生活態度,想起了同時也就是他平生最殷切地期待於今日之青年的所謂一木一石的精神。 
  在我手邊所有的魯迅先生文集裡,就有兩處講到這種精神,在《憶韋素園君》裡,他寫著:素園並非天才,也非豪傑,當然更不是高樓的尖頂,或名園的美花,然而他是樓下的一塊石材,園中的一撮泥土,在中國第一要它多。他不入於觀賞者的眼中。只有建築者和栽植者,決不會將他置之度外。 
  在《寫在〈墳〉後面》,他說得更加沉痛:倘說為別人引路,那就更不容易了,因為我自己還不明白應該怎麼走。中國大概很有些青年的「前輩」和「導師」吧,但那不是我,我也不相信他。……(我)至多不過是橋樑中的一木一石,並非什麼前途的目標,範本。 
  因為從來不把自己看作「導師」「前輩」,從來不行自己當作「高樓的尖頂,或名園的美花」,在整個社會改革中,也從來不要求一個特別優待的特等席,並沒有造一座寶塔,來把自己高高的供在裡面,所以才能心甘情願地做一個「革命的馬前卒」,才能毫無怨尤地「背著因襲的重擔,肩住了黑暗的閘門,放他們(指年青的一代——引用者)到寬闊光明的地方去」。——這是魯迅先生的一貫的生活態度,這也正是一 個真正民主戰士所應有的將別人當作一個人而同時也將自己當作一個人的精神。 
  中國知識分子的靈魂深處都背著一些「擺脫不開」的「古老的鬼魂」,所以不把自己當作一個有特殊權益的「人上人」,而能夠將別人和自己都看成一律平等的人。實在已經是看似平凡,而實際上非常艱難的苦業。(遵檢六十五字)1這三者,都不是把自己和別人看作平等的人的非民主的性格:什麼也抓不到的時候俯首貼耳,聽命於人,這是自認為「人下人」的奴隸,「抓到了一面旗子,就自以為出人頭地」,行所欲行,這是自認為「人上人」的暴君,而第三種,早期士大夫的逆子貳臣,沒有實事求是精神的「薄海民」( Bohemian)流輩,可以首先捲入革命怒潮,也可以首先落荒、頹廢、叛變,這種人常常有非常革命的外形,但是解剖開來一看,他們的「革命」何嘗不就是「可取而代也」思想的另一種表現? 
  要把「因為歷朝的壓抑,而已經萎縮了下去」的誠實認真地將人當作人看,——首先將自己當作一個人看,當作一個平常的人看的這種精神恢復過來,這不是一朝一夕的工作。於是,淒苦地在曠野中獨行的魯迅,就不能不「打了一個寒噤」,而首先把自己當作「一塊石材,一撮泥土」,決心用自己的骸骨來給青年的一代鋪路了。 
  把自己看作天才豪傑也許非常的壯快,善於找理由來正當化自己不該有的特權,善於尋理論根據來寬恕自己也許是一種「幸福」,但,單單屋尖可不能造成一個世界。魯迅先生離開我們已經七年了,在「學習魯迅」已經成為青年人普遍的口頭術語,而整頓三風也已經號召了一年有餘的今日,我想,誠實地要學習魯迅的人,應該是鮮血淋漓地解剖開自己,來看一看那些擺脫不開的鬼魂。要是真的能夠看到自己的本來面目,我想,誰都應該:「打一個寒噤」! 

  一九四三年十月 

  原載1943年10月17日重慶《新華日報》 

  【註釋】 

  1此處被國民黨新聞審查官刪了六十五字。



It was never going to be easy. Reforming health care in America means fiddling with an industry that is larger than the economies of all but five countries. The system is a mishmash of laws and regulations that relies on profiteering firms and merciful doctors. Few predicted that Barack Obama’s attempt to reorganise the clutter would degenerate into such a remarkable example of Washington dysfunction http://econ.st/155jF94



《論溫健騮離港赴美以前的詩》by.李瑞騰

至於未來,前述〈神木〉留下了焚燬與再生的可能。〈在異域的杯上〉,由於是「
在凶年」,所以「不曾有過明天」,「踏不住明天」,明天真是不可知的未來。是的,
未來充滿不確定性,年輕的詩人不能不焦慮,在一首題為力的作品中,「下一個世
紀」出現了︰

風起時,繞天匝地的悲涼
把你裹著。孤獨是一種捶鍊
你想,一若火的燃燒

或冰的凝固。行走在七月
常欲穿越這時間的拱門
到下一世紀--

到那時,不知這風,
這孤獨,這悲涼可仍認得
你就是那人--一雙
在風衣袋裡的手
要狠狠把寂寞碎


李怡 坐看雲起時

總覺得西片的中文譯名不似幾十年前取得好。《坐看雲起時》是例外了。大陸直譯為《錫爾斯瑪利亞的雲》,台灣取名《星光雲寂》,香港譯名卻讓我有感觸。
梁啟超說李商隱的《錦瑟》給他美的感受,但他無法解釋每一句含義。我年輕時讀王維的「行到水窮處,坐看雲起時」,通體舒泰,卻說不出這兩句詩要講什麼。「水窮處」大概是說走呀走,走到溪水源頭就不見有水了,那時就坐下來看見山巔上雲朵湧起。我想像是水上了天,變成雲,雲終會化為雨,山澗的水也不窮了。這是大自然的輪迴循環。人生是否也如此?
據說影片是我的偶像茱麗葉庇洛仙的主意,她與編導阿薩耶斯討論後拍成的。影片講一位年華老去的名演員瑪莉,應邀再次演出二十年前她的成名舞台劇,當年她飾演年輕女主角絲嘉莉,與上司海倫娜關係撲朔迷離,令對方為她癡狂崩潰而自殺。不過二十年後,要她飾演的不是絲嘉莉,而是下場淒慘的配角海倫娜,絲嘉莉一角則由年輕女星艾祖安擔演。面對艾祖安,瑪莉一方面覺得自己青春不再,另方面艾祖安的率性揮灑不顧形象的年輕人作為,也使她吃驚,但她的年輕助手花蘭卻欣賞艾祖安。而瑪莉與花蘭的日夕相對,也使她發現自己似乎也陷入海倫娜的困境。瑪莉如老去的庇洛仙,人生似乎「行到水窮處」了,看到雲的湧起,而新的雲又與她當年風起雲湧的雲不一樣。沒有對錯,但要接受和適應。
我的人生也「行到水窮處」了吧。不過「坐看雲起時」卻沒有感傷,只有欣喜。看到死抱着過去的人,把他們看作「苦瓜毒豆」,不覺失笑。

A veteran actress comes face-to-face with an uncomfortable reflection of herself when she agrees to take part in a revival of the play that launched her career 20 years earlier.


CLOUDS OF SILS MARIA
Sils Maria
BY OLIVIER ASSAYAS / FRANCE
SYNOPSIS
Olivier Assayas’ metadrama, driven by an all-women cast, explores the complexity of female roles at different stages. Enduring French star Juliette Binoche plays a 40-something actress who is asked to star in a remake of the play that launched her career. Only this time, she is asked to portray the older character, while a younger, rising Hollywood starlet (Chloe Grace Moretz) takes her former role, unleashing a myriad of frustrations and insecurities in the former. Meanwhile, Kristen Stewart shines as the veteran star’s assistant.
In this film, director Assayas’ latest, the women show that there is more than meets the eye to them – each take on roles, or craft stories and situations which they deftly adapt to circumstances as they see fit.
----By Eric Kohn | Indiewire
Olivier Assayas directs some of the best movies in contemporary French cinema, but his output often doesn't receive hyperbole. His work combines a lot of talk and restraint; even espionage drama "Carlos" filled its five-hour running time with more strategizing and interpersonal relationships than action. Coming-of-age stories "Something in the Air" and "Summer Hours" rely on nuanced exchanges.
"Clouds of Sils Maria," which centers on the struggles of an aging actress and her personal assistant, follows suit. However, it's also a cynical look at the business of making movies that explores why such narratives present a challenge for viewers. As such, it presents an ideal access point to his other work.
Compared to his last few efforts, "Clouds of Sils Maria" contains a far more straightforward plot: Legendary film actress Maria Enders (Juliette Binoche) struggles to stay relevant by agreeing to star in a revival of the play that launched her career 20 years earlier. But instead of playing the key role of a young woman who compels her boss to suicide, she agrees to take on the less flattering part of the employer, while current it girl Jo-Anne Ellis (Chloe Grace Moretz) lands the lead. 
Maria heads to the sweeping getaway of the Swiss alps with her trusty assistant Valentine (Kristen Stewart) to rehearse the part. Buried in glasses and tattoos, Stewart fully inhabits her role as a credible young woman riddled with self-doubt that nicely complements the fears of aging that plague her employer. 
The typically great Binoche conveys a tantalizing mixture of confidence and unease as she considers her glamorous past and undetermined future, slipping in and out of character while running lines with the ever-supportive Valentine. Binoche's layered performance calls to mind her memorable turn in Abbas Kiarostami's "Certified Copy," in which her character similarly veered from one personality to another, while the full nature of her identity remained uncertain. In the far more literal plot of "Sils Maria," the fictional material allows Maria to explore her fears and regrets through the same creative outlet that put her on the map. Unfolding against a landscape of rolling hills and billowing clouds, it's an expressive backdrop for what's essentially a performance-driven look at the apprehensiveness surrounding all walks of life.Assayas casts an even wider net by situating Maria's difficulties in the context of an industry that's indifferent to them. The filmmaker fleshes out the character's increasing disconnect from mainstream success by showing her watching clips of newcomer Jo-Anne Ellis (Moretz, in her strongest role to date) on her iPad and expressing her hesitations to her largely supportive agent and director.
"Clouds of Sils Maria" truly comes alive in its depiction of her curious relationship with her assistant, for whom she adopts a maternal role even as she grows to resent the younger woman's limited perspective.In one standout moment, after the duo attend a cheesy science fiction movie in which Ellis stars—marking the rare presence of special effects in an Assays movie—their conversation develops a strangely meta dimension as the Stewart character makes the case for the blockbuster's hidden meanings. It's as if the actress herself were staging a defense of the "Twilight" franchise. "Despite her superpowers, she's defenseless," Valentine insists, which prompts Maria to burst out laughing. If Valentine speaks for the sensibilities of a younger generation, Maria's instinctual rejection shows the extent to which her currency has waned. While the scene has an unmistakably humorous edge, it also carries a deeper sadness defined by its central conundrum.
Assayas goes one step further by cannily playing off expectations of Moretz's character's superficiality, then revealing her more sophisticated qualities during the final half hour. While Maria dismisses Jo-Anne's abilities as "cartoonish psychology," the movie itself is devoid of it. If anything, "Clouds of Sils Maria" suffers from not applying satisfactory background information about its supplementary characters, mainly using the two younger women to complement Maria's internal crises. But that decision lends itself to a careful study of her disconnect with the world around her, particularly as it pertains to the shifting gears of fame, which she eventually confronts when coming to terms with Jo-Anne's larger star power. 
Ultimately, the ideas in "Clouds of Sils Maria" points to the tragedy of talent losing its currency in an ever-changing marketplace. It's a simple assertion, but it effectively illustrates how a basic point has been lost on so many people. That takeaway makes "Clouds of Sils Maria" into an argument for its own existence: Real environments and intelligent exchanges tell better stories than any modicum of escapism.
GradeA-
"Clouds of Sils Maria" premiered this week at the Cannes Film Festival. IFC Films will release it in the U.S. at an undetermined date.

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