9點40分起：
馬政府出過兩位吳姓教育部長。
前者被教育界的資深人說是史上最沒水準的---看看台北市會議錄影帶中，他跳出來向某建商董事長握手的模樣。
在位的這位，到中一中開會，險些無法全身而退。
昨天的台中地院的這項判決：讓東海大學中斯文掃地的校長下台、干預/侵犯大學董事會治權的教育部錯誤畢露。
0611 論說臺灣傳統民間表演藝術(曾永義)
這演講聽眾主體是東亞文明研究課程。大半的學生多低頭玩手機。曾永義老師大病初癒，講其與大一紀的許常惠研究民俗藝技......放映1985年中秋節前5天5夜聯合公演--製作人曾永義---剪輯30分鐘。主持人曾先生忘記泉州開元寺內堆積的偶人，院長提醒之，
讀Thomas Mann in Buddenbrooks，原來他燒掉日記，留下部分同性戀日記。
Typically, readers believe that fiction, especially the Realist novels that dominated Western culture for most of the nineteenth century and beyond, is based on historical truth and that great novels possess a documentary value. That trust, Gay brilliantly shows, is misplaced; novels take their own path to reality. Using Dickens, Flaubert, and Mann as his examples, Gay explores their world, their craftsmanship, and their minds. In the process, he discovers that all three share one overriding quality: a resentment and rage against the society that sustains the novel itself. Using their stylish writing as a form of revenge, they deal out savage reprisals, which have become part of our Western literary canon. A New York Times Notable Book and a Best Book of 2002.
參加AI 32 19：20，與Mike問候。報告緬泰經驗，我走了。
在位的這位，到中一中開會，險些無法全身而退。
昨天的台中地院的這項判決：讓東海大學中斯文掃地的校長下台、干預/侵犯大學董事會治權的教育部錯誤畢露。
0611 論說臺灣傳統民間表演藝術(曾永義)
這演講聽眾主體是東亞文明研究課程。大半的學生多低頭玩手機。曾永義老師大病初癒，講其與大一紀的許常惠研究民俗藝技......放映1985年中秋節前5天5夜聯合公演--製作人曾永義---剪輯30分鐘。主持人曾先生忘記泉州開元寺內堆積的偶人，院長提醒之，
午餐後到圖書館還書；借書。Freud的編目很亂。
補
華夷風起 (王德威) 0508
http://hclectures.blogspot.tw/2015/06/0508.html
華夷風起 (王德威) 0508
http://hclectures.blogspot.tw/2015/06/0508.html
讀Thomas Mann in Buddenbrooks，原來他燒掉日記，留下部分同性戀日記。
Amazon.com: Savage Reprisals: Bleak House, Madame ...
www.amazon.com/Savage-Reprisals...Buddenbrooks/dp/0393325091And Thomas Mann's Buddenbrooks was "an act of retribution," an expression of his "animus against his privileged family history." None of this, Gay states, ...
A revelatory work that examines the intricate relationship between history and literature, truth and fiction―with some surprising conclusions.
Focusing on three literary masterpieces―Charles Dickens's Bleak House (1853), Gustave Flaubert'sMadame Bovary (1857), and Thomas Mann's Buddenbrooks (1901)―Peter Gay, a leading cultural historian, demonstrates that there is more than one way to read a novel.Typically, readers believe that fiction, especially the Realist novels that dominated Western culture for most of the nineteenth century and beyond, is based on historical truth and that great novels possess a documentary value. That trust, Gay brilliantly shows, is misplaced; novels take their own path to reality. Using Dickens, Flaubert, and Mann as his examples, Gay explores their world, their craftsmanship, and their minds. In the process, he discovers that all three share one overriding quality: a resentment and rage against the society that sustains the novel itself. Using their stylish writing as a form of revenge, they deal out savage reprisals, which have become part of our Western literary canon. A New York Times Notable Book and a Best Book of 2002.
參加AI 32 19：20，與Mike問候。報告緬泰經驗，我走了。
胡思2：30來電，碰到曾先生了。
高志明 敬筆
2015.06.11
台灣的藍綠政治有多分歧，李登輝的形象就會有多矛盾，愛他的與恨他的都反應了這個島上不同政治光譜下選民的需求。我們企圖將這個政壇上的李登輝還原為「一個人」，一個走過日本殖民、國民黨統治的老人，背負各種時代傷口，好比，李登輝在菲律賓戰死的大哥，他的父親不信他戰死，家裡沒有牌位，認為大哥是在菲律賓與女子結婚成家不想回來。而李登輝則相信大哥的鬼魂回來見過家人。他們用各自相信的理由，解釋歷史留下來的傷害，有了這些理由，被時代輾過的人才會稍有走下去的勇氣。
董橋先生《說品味》一文出現在本年度臺灣高考國文試題中!!!
大家不仿閱讀下文，讓我們一起動動腦解題吧~
著名建築家梁思成在香山途中，發現杏子口山溝南北兩崖上的三座小小佛龕，幾塊青石板經歷了七百多年風霜，石雕的南宋風神依稀可辨，說是「雖然很小，卻頂著一種超然的莊嚴，鑲在碧澄澄的天空裡，給辛苦的行人一種神秘的快感和美感。」建築家有這樣的領會，梁思成名之為「建築意」。
「意」，不太容易言傳，等於品味、癖好之微妙，總是孕含一點「趣」的神韻，屬於純主觀的愛惡，玄虛不可方物，如聲色之醉人，幾乎不能理喻。袁宏道所謂「世人所難得者唯趣。趣如山上之色、水中之味、花中之光、女中之態，雖善說者不能下一語，惟會心者知之」。這是對的。但是，袁中郎笑人慕趣之名，求趣之似，辨說書畫、涉獵古董以為清，寄意玄虛、脫跡塵俗以為遠，說這些都是趣之皮毛，未免犯了知識勢利的弊病。夫趣，得之自然者深，得之學問者淺，一心追求高級文化之神情旨趣，恐怕變得有身如桎，有心如棘，入理愈深，去趣愈遠。這一層，蘇珊‧桑達看得比較通透，她標舉俗中求雅的享樂主義也是「高品味」，「有品味有修養的人從此得以開懷，不必日夜為杞憂所累。」琴棋書畫的最高境界講究能收能放，與此同理。
品味跟精神境界當然分不開，可惜庸俗商業社會中把人的道德操守和文化修養都化成「交換價值」，視之如同「成品」，只認標籤不認內涵，品味從此去「品」何止千里！懂得看破功利社會怪現象而發出會心微笑的人，才能洞識「現代品味」的真諦，才可以在交換價值市場上立足且自得其趣。在這樣精緻的按鈕時代裡，沒有這一點品味的人註定寂寞。（董橋〈說品味〉）
呼籲政府
不應該僅以26℃、28℃的標準、管制「商場冷氣」使用
不應該僅以26℃、28℃的標準、管制「商場冷氣」使用
一、「節約用電‧節能減碳‧省水省電‧避免浪費天然資源」的概念，在台灣已深植人心；此毫無疑問，所有人都會願意配合。
二、但是「舒適感」是商場吸引顧客的基本要件；用「行政管制」手段，是不妥的。
三、「舒適感」主要決定因素是「濕度」，不是「溫度」；以中東地區為例：「高溫‧低濕」，但縱使26℃、28℃，也不覺得不舒適。
四、台灣地處亞熱帶，夏季下雨後，必然「炎熱‧高濕」；因此，若要全面管制的話，應加入「濕度」考量之條件。
五、若政府「只管原則」的話，政府能做的，就應該只是「調高商場電費」；讓商場自行決定：「視其客層」需求，決定其「空間 舒適感」所需的「溫度‧濕度」。
高志明 敬筆
2015.06.11
台灣的藍綠政治有多分歧，李登輝的形象就會有多矛盾，愛他的與恨他的都反應了這個島上不同政治光譜下選民的需求。我們企圖將這個政壇上的李登輝還原為「一個人」，一個走過日本殖民、國民黨統治的老人，背負各種時代傷口，好比，李登輝在菲律賓戰死的大哥，他的父親不信他戰死，家裡沒有牌位，認為大哥是在菲律賓與女子結婚成家不想回來。而李登輝則相信大哥的鬼魂回來見過家人。他們用各自相信的理由，解釋歷史留下來的傷害，有了這些理由，被時代輾過的人才會稍有走下去的勇氣。
董橋先生《說品味》一文出現在本年度臺灣高考國文試題中!!!
大家不仿閱讀下文，讓我們一起動動腦解題吧~
著名建築家梁思成在香山途中，發現杏子口山溝南北兩崖上的三座小小佛龕，幾塊青石板經歷了七百多年風霜，石雕的南宋風神依稀可辨，說是「雖然很小，卻頂著一種超然的莊嚴，鑲在碧澄澄的天空裡，給辛苦的行人一種神秘的快感和美感。」建築家有這樣的領會，梁思成名之為「建築意」。
「意」，不太容易言傳，等於品味、癖好之微妙，總是孕含一點「趣」的神韻，屬於純主觀的愛惡，玄虛不可方物，如聲色之醉人，幾乎不能理喻。袁宏道所謂「世人所難得者唯趣。趣如山上之色、水中之味、花中之光、女中之態，雖善說者不能下一語，惟會心者知之」。這是對的。但是，袁中郎笑人慕趣之名，求趣之似，辨說書畫、涉獵古董以為清，寄意玄虛、脫跡塵俗以為遠，說這些都是趣之皮毛，未免犯了知識勢利的弊病。夫趣，得之自然者深，得之學問者淺，一心追求高級文化之神情旨趣，恐怕變得有身如桎，有心如棘，入理愈深，去趣愈遠。這一層，蘇珊‧桑達看得比較通透，她標舉俗中求雅的享樂主義也是「高品味」，「有品味有修養的人從此得以開懷，不必日夜為杞憂所累。」琴棋書畫的最高境界講究能收能放，與此同理。
品味跟精神境界當然分不開，可惜庸俗商業社會中把人的道德操守和文化修養都化成「交換價值」，視之如同「成品」，只認標籤不認內涵，品味從此去「品」何止千里！懂得看破功利社會怪現象而發出會心微笑的人，才能洞識「現代品味」的真諦，才可以在交換價值市場上立足且自得其趣。在這樣精緻的按鈕時代裡，沒有這一點品味的人註定寂寞。（董橋〈說品味〉）
50th anniversary events
25 June 2015: Southend Homecoming Evening (Southend Campus)
At 17:00 in The Royal Pavilion, Southend.on.Sea Pier.
We're enormously proud of all that has been achieved in 50 years. We’ve helped over 70,000 students graduate and we would like welcome our Southend alumni to join our staff to end our 50th Anniversary celebrations with a Bang!
The evening celebrations will kick off with a fish and chip supper on the pier, followed by live music, roaming magician and a special Punch and Judy show. Please note this event is FREE OF CHARGE.
From Publishers Weekly
It's tempting to treat novels as beautifully crafted and precise reflections of a society's social, political and psychological realities, but noted historian Gay (Schnitzler's Century, etc.) is having none of it: "whoever enlists fiction to assist in the hunt for knowledge must always be alert to authorial partisanship, limiting cultural perspectives, fragmentary details offered as authoritative, to say nothing of neurotic obsessions." In short, the most realistic novel is not an objective work of history. And yet Gay's fine analysis does not conclude on such a sour note; rather, he offers magnificent insight into how, by knowing a work's "maker and his society," one can evaluate the historical evidence a novel contains. Gay illustrates this through a close study of the three supposedly quintessential works of Realism in the subtitle. Dickens, he says, was an "angry anarchist," whose portrayal of the British judicial system in Bleak House owed more to his rejection of all government institutions than to reality. Madame Bovary, he continues, was less a true depiction of French provincial life than "a weapon of harassment" reflecting Flaubert's jaundiced view of society. And Thomas Mann's Buddenbrooks was "an act of retribution," an expression of his "animus against his privileged family history." None of this, Gay states, detracts from the greatness of these books as works of art. In an epilogue, Gay offers a spirited rejection of the postmodernist denial of historical veracity; and these essays, based on his W.W. Norton/New York Public Library Center for Scholars and Writers Lectures, offer a valuable contribution to literary studies.
Copyright 2002 Cahners Business Information, Inc. --This text refers to the Hardcover edition.
Copyright 2002 Cahners Business Information, Inc. --This text refers to the Hardcover edition.
From Library Journal
In this little book, historian and cultural critic Gay (Schnitzler's Century) turns his gaze to the realist novels of Dickens, Flaubert, and Thomas Mann. Very often, he argues, readers interpret realist novels as mirrors that can be held up to their societies to offer an accurate portrayal of the historical details of that social world. On this reading, Dickens's portraits of orphanages in industrial London or Flaubert's depictions of the vagaries of the new bourgeoisie in 19th-century France become faithful descriptions of the society at hand. Not so, Gay contends. In close readings of Bleak House, Madame Bovary, and Buddenbrooks, Gay demonstrates that realist novels cannot be taken as accurate guides to the historical details of their times. Quite simply, he says, the powerful insights of the novels arise from a combination of the authors' psychological insights and their historical contexts. For example, Dickens's portrait of the bureaucratic boondoggles of the Chancery Court, Gay contends, does not accurately depict the court of 1853, as earlier reform bills had introduced significant changes in how it conducted itself. Despite the historical inaccuracies these novels pass along, their significance lies in the subversive "reprisals" they make to their societies. Unfortunately, Gay is no literary critic; his readings are not particularly lively, and his insights are neither new nor startling. His readings often tend toward reductionism (Buddenbrooks as a novel about Mann's homosexual tendencies), and his argument that these novels offer subversive readings of their societies is simplistic, providing no incisive wisdom about the texts. More thoughtful essays on Bleak House and Madame Bovary, for example, can be found in Vladimir Nabokov's Lectures on Literature. Not recommended.
- Henry L. Carrigan Jr., Lancaster, PA
- Henry L. Carrigan Jr., Lancaster, PA
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