YouTube 是有趣的地方。重映的電影，例如Kubrick's Barry Lyndon (1975) 或中山美穗等主演的《情書》Love Letters 等，或許都讓您對40年前、20年前失之交臂的影片，"似曾觀賞過"......也許，這樣就"夠了"？
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以前讀《哥德談話錄》，據說尼采說該書是德國第一本。
讀《史懷哲自傳》中談德文、法文。就德文，舉路德翻譯的《新約》、尼采的《善惡之彼岸》為重要文本。
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這個月的《文訊》有林文月先生說劉吶鷗的日文很好，中文不太成熟。今天與Kawase先生談劉吶鷗，他對當時上海和人物也熟，我說近讀《劉吶鷗全集》(2001)、《劉吶鷗全集 增補集》 (2010) 中丛俄文的日譯本轉譯的《藝術社會學》、《墨西哥頌》等都有意思。Kawase 先生除了談"真實的李香蘭與劉吶鷗"之外，知道劉吶鷗也懂法文-- 我想不通劉怎有時間參加震旦大學法文特別班？
讀《史懷哲自傳》中談德文、法文。就德文，舉路德翻譯的《新約》、尼采的《善惡之彼岸》為重要文本。
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這個月的《文訊》有林文月先生說劉吶鷗的日文很好，中文不太成熟。今天與Kawase先生談劉吶鷗，他對當時上海和人物也熟，我說近讀《劉吶鷗全集》(2001)、《劉吶鷗全集 增補集》 (2010) 中丛俄文的日譯本轉譯的《藝術社會學》、《墨西哥頌》等都有意思。Kawase 先生除了談"真實的李香蘭與劉吶鷗"之外，知道劉吶鷗也懂法文-- 我想不通劉怎有時間參加震旦大學法文特別班？
!!!!
董橋："該是十七歲生日，亦梅老師送了我一套湯顯祖作品集，囑咐我多讀戲詞，說白話文要寫得好，宋詞、元曲、明劇不可荒廢。我真的埋頭苦讀了好幾個月才到臺灣升學。大約一九六三、六四年，有一回去師範學聽演講，一位教書先生談起徐志摩的白話文，梁實秋先生笑笑說：“要寫志摩那樣的文字非熟讀元曲不可！”窗外淅淅瀝瀝下著冷冷的春雨，我格外懷念亦梅老師，他年輕的時候相貌七分像徐志摩，老了寫的白話文尤其不輸徐康橋。八十多歲從廈門來香港小住，老師話不多了，神情也落寞，有一天忽然對著我微微一笑：“還是明朝好，”他說。“王陽明的東西不妨多讀！”這句話充和先生想必不難會心。"
羅曼·羅蘭原著《約翰·克利斯朵夫》(傅雷譯)是我初二讀的第一本大河小說。約45年過去，看到《約翰·克利斯朵夫》(濃縮本)，梁祥美譯，台北：志文，2004(49幅由 F. 馬塞瑞爾畫的插圖)。
我認識這位木刻名家，去大搜索，發現原插畫竟然有666幅呢。
有些幅印1500張..... 我希望有機會找到這附666張木刻的版本！
Blankenberge, Belgium, 1889 — Avignon, France, 1972
Graphic artist, wood engraver, illustrator
Working as an illustrator for newspapers and magazines, Masereel met Stefan Zweig in Switzerland in 1917 when he was fighting for peace together with other intellectuals from all over Europe.
“A solid, sweet figure, a grave look behind the spectacles, like Verhaeren, only wears thick corduroy clothes, in the style of a labourer. I was attracted to him from the first minute...” “Marvellous, I especially like his serious manner and the way he listens. I never expected so much from someone...” “...A comfort [in these difficult days]: so clear, pure, so good. I’m aware that there are few people around me that I love. He is nothing but goodness, energy, the most wonderful combination.”
Notwithstanding his hard, rough appearance, Masereel was the dearest character to appeared in the diaries. In his letters to Friderike he didn’t hide his affection for this vigorous artist, brimming over with goodness.
Masereel is considered by artists of the calibre of Will Eisner and Art Spiegelman to have invented the graphic novel through his large collection of “novellas without words”, produced during the pacifist crusade. The group came together around two newspapers, Demain, founded by the mercurial Guilbeaux (a Communist who converted to anti-Communist) and La Feuille, where Masereel published daily woodcuts about the horrors of war.
The central figure was Romain Rolland, who won the Nobel Prize for Literature in 1915. Also present were Russian revolutionaries such as Lenin and Trotsky, awaiting the fall of the Czar, the Irishman James Joyce writing in English but intensely anti-British in spirit, the composer Ferruccio Busoni and many others.
Masereel illustrated the monumental Jean Christophe, by Rolland, with 666 woodcuts, and also Zweig’s pacifist novella Compulsion, using the figures of Stefan and Friderike as models for the two protagonists. For a collection of complete works in Russian (1926) he created a faithful portrait of Zweig which has been reproduced hundreds of times to this day. He also illustrated the works of other great authors, such as Émile Zola and Thomas Mann.
Over the next 23 years they were very close in Paris, Nice, Ostend and Salzburg, until 1940 when Zweig left Europe for the New World. And even once safe on the other side of the Atlantic, Zweig tried obsessively to obtain for Masereel entry visas for Brazil, Argentina, Colombia and the United States. All in vain: perhaps because he was too anguished and depressed.
During the German occupation he hid in small towns in the French countryside. He wasn’t Jewish, nor a Communist, his socialism was no different from that of Rolland. Neither of them was hounded by the Gestapo. In Zweig’s memoirs he is mentioned on three occasions and in his first collection of essays, Begegnungen mit Menschen, Büchern und Städten [Encounters with People, Books and Cities], Zweig included a piece about Masereel.
He portrayed people in their isolation in modern civilization, while at the same time offering possibilities for action. In his oeuvre of woodcuts he produced series such as 25 Images of a Man’s Passions (1918), the 80 works The Face of Hamburg and the 100 of the cycle The City (1925). From 1947 to 1951, he lead the painting classes at the recently-founded School of Arts and Crafts in Saarbrücken. In Switzerland in 1953 he founded Xylon – International Society of Wood Engravers. Between the end of the Second World War and 1968 he published a series of engravings representing variations on a particular theme. He was the subject of numerous exhibitions and a member of several academies of the arts. His name appears at the head of institutions such as the Frans Masereel Centre, in Kasterlee, Belgium, and Masereelsfonds, an entity promoting the Flemish language which was originally associated to the Belgian Communist Party and which nowadays has an independent progressive disposition.
Address listed: 30 Rue des 3 Faucons, Avignon.
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Kawase來訪 今天八方雲集開業，人很少。
談朋友作保晚年有事；
談過去出版自然保健法，賣1000本，每日等有書介，出版社電話occupied 2周，不過許多人藍電問太多了----他要去某扶輪社演講。
出版了，放心了
第八章 台湾で戦後上映された映画―1945（民国34）年～1949（民国38）年―（川瀬健一）
--東アジアにおけるトランスナショナルな文化の伝播・交流―メディアを中心に―( 中文書名：東亞文化的傳播與交流：以媒體為中心 )
梁蘊嫻 編
延広真治、梁蘊嫻、石川隆男、佐藤卓己、山本陽史、李賢晙、廖秀娟、川瀬健一、横山詔一、林立萍、林淑璋、吳翠華、中澤一亮、王旭、勝倉仁 著
延広真治、梁蘊嫻、石川隆男、佐藤卓己、山本陽史、李賢晙、廖秀娟、川瀬健一、横山詔一、林立萍、林淑璋、吳翠華、中澤一亮、王旭、勝倉仁 著
2016年08月
精裝 / 21*15cm / 292頁 / 單色(黑) / 日文
精裝 / 21*15cm / 292頁 / 單色(黑) / 日文
出版單位： 國立臺灣大學出版中心
叢書系列： 日本學研究叢書 22
ISBN： 978-986-350-176-3
GPN： 1010501160
定價： 760 元
叢書系列： 日本學研究叢書 22
ISBN： 978-986-350-176-3
GPN： 1010501160
定價： 760 元
東アジアにおけるトランスナショナルな文化の伝播・交流―メディアを中心に―…
PRESS.NTU.EDU.TW
送禮事情、學問大。年初香港訪友，送的是他母校高山茶與陳年高梁。.....上周許達然夫婦北上，我與杭之夫婦打擾他們2天；幸虧那時Justing 給我寄來大梨，我可以帶3粒去分享。
明晨要趕往天母書廬與曹永洋學長聚會，心理有點壓力---不太知道從石牌怎麼搭車---Taxi方便，卻無趣；公車好點，不太知道搭車地、方向.....還有要帶什麼伴手禮？學長說了，我的書，他可能都看不懂.....華致資訊開發公司的總經理給我一份中秋禮盒，拯救了我。
明晨要趕往天母書廬與曹永洋學長聚會，心理有點壓力---不太知道從石牌怎麼搭車---Taxi方便，卻無趣；公車好點，不太知道搭車地、方向.....還有要帶什麼伴手禮？學長說了，我的書，他可能都看不懂.....華致資訊開發公司的總經理給我一份中秋禮盒，拯救了我。
"才子的夫人"是很很難得的。
Herb Simon的夫人的簡略故事。
http://hchas.blogspot.tw/2008/08/herbert-simon-dorothy.html
今天在國家圖書館的楊楊牧展覽處看到他約在1990年與牟復禮教授夫婦的合照----約2月前，孫康宜教授展他們1975年會議的晚餐是Mote教授選"金瓶梅"書中的菜，由夫人料理，孫教授書寫菜譜......後來我請教孫教授，知道夫人還健在......
上個月記Pierre Ryckmans的訃聞，知道他們夫婦是在台灣認識的.....en.wikipedia.org/wiki/Pierre_Ryckmans
Herb Simon的夫人的簡略故事。
http://hchas.blogspot.tw/2008/08/herbert-simon-dorothy.html
今天在國家圖書館的楊楊牧展覽處看到他約在1990年與牟復禮教授夫婦的合照----約2月前，孫康宜教授展他們1975年會議的晚餐是Mote教授選"金瓶梅"書中的菜，由夫人料理，孫教授書寫菜譜......後來我請教孫教授，知道夫人還健在......
上個月記Pierre Ryckmans的訃聞，知道他們夫婦是在台灣認識的.....en.wikipedia.org/wiki/Pierre_Ryckmans
約16年前，我在中原大學兼任一門通識課：近代管理學思潮。
約25年前，在東海的化工系兼任管理學。
一個問題始終讓我困惑：學生如何進入陌生的管理學世界？
恰巧那時候我與20世紀的大家Herbert A. Simon (1916-2001http://en.wikipedia.org/wiki/Herbert_A._Simon)通信，就向他請教這一難題。
Simon 說，應將學生生活其間的大學系統看成練習場.....
約25年前，在東海的化工系兼任管理學。
一個問題始終讓我困惑：學生如何進入陌生的管理學世界？
恰巧那時候我與20世紀的大家Herbert A. Simon (1916-2001http://en.wikipedia.org/wiki/Herbert_A._Simon)通信，就向他請教這一難題。
Simon 說，應將學生生活其間的大學系統看成練習場.....
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