10月17日今昔 漢清講堂活動預王晃三《青澀歲月的回憶— 那些年在中原工工》；日本陳文華學長；說《講義》興亡；強人強國：夢饜；胡大俠多人 回顧 1017 2021： 台灣文化協會成立百年纪念；1961年巴黎屠殺60周年。自立容顏。玻璃家庭／黃春明黒島 傳治 1898~1943 。 左拉《金錢》ˊMoney, the eighteenth of Zola’s twenty-novel cycle.
https://www.facebook.com/hanching.chung/videos/2283059211842555
2022
敬邀漢清先生蒞臨指導11.9（六）「徐復觀先生與新儒家」學術論壇
漢清先生尊鑒：
東海大學中文系與圖書館將於2022年11月19日（六），聯合舉辦「徐復觀先生與新儒家」學術論壇，紀念徐先生並發揚東海人文精神。感謝您一直以來的支持與愛護，敬呈本論壇海報、議程與食宿調查表如附件，歡迎您蒞臨東海大學參訪與指導。
敬祝 秋安
東海大學中文系系主任 黃繼立 敬上
回顧
10月17日
By Valerie Minogue
Money is a tricky subject for a novel, as Zola in 1890 acknowledged: “It’s difficult to write a novel about money. It’s cold, icy, lacking in interest…” But his Rougon-Macquart novels, the “natural and social history” of a family in the Second Empire, were meant to cover every significant aspect of the age, from railways and coal-mines to the first department stores. Money and the Stock Exchange (the Paris Bourse) had to have a place in that picture, hence Money, the eighteenth of Zola’s twenty-novel cycle.
The subject is indeed challenging, but it makes an action-packed novel, with a huge cast, led by a smaller group of well-defined and contrasting characters, who inhabit a great variety of settings, from the busy, crowded streets of Paris to the inside of the Bourse, to a palatial bank, modest domestic interiors, houses of opulent splendour — and a horrific slum of filthy hovels that makes a telling comment on the social inequalities of the day.
Dominating the scene from the beginning is the central, brooding figure of Saccard. Born Aristide Rougon, Saccard already appears in earlier novels of the Rougon-Macquart, notably in The Kill, which relates how Saccard, profiting from the opportunities provided by Haussman’s reconstruction of Paris, made – and lost – a huge fortune in property deals. Money relates Saccard’s second rise and fall, but Saccard here is a more complex and riveting figure than in The Kill.
Saccard is surrounded by other vivid characters – the rapacious Busch, the sinister La Méchain, waiting vulture-like for disaster and profit, in what is, for the most part, a morally ugly world. Apart from the Jordan couple, and Hamelin and his sister Madame Caroline, precious few are on the side of the angels. But there are contrasts not only between, but also within, the characters. Nothing and no-one here is purely wicked, nor purely good. The terrible Busch is a devoted and loving carer of his brother Sigismond. Hamelin, whose wide-ranging schemes Saccard embraces and finances, combines brilliance as an engineer with a childlike piety. Madame Caroline, for all her robust good sense, falls in love with Saccard, seduced by his dynamic vitality and energy, and goes on loving him even when in his recklessness he has lost her esteem. Saccard himself, with all his lusts and vanity and greed, works devotedly for a charitable Foundation, delighting in the power to do good.
Money itself has many faces: it’s a living thing, glittering and tinkling with “the music of gold”, it’s a pernicious germ that ruins everything it touches, and it’s a magic wand, an instrument of progress, which, combined with science, will transform the world, opening new highways by rail and sea, and making deserts bloom. Money may be corrupting but is also productive, and Saccard, similarly – “is he a hero? is he a villain?” asks Madame Caroline; he does enormous damage, but also achieves much of real value.
Fundamental questions about money are posed in the encounter between Saccard and the philosopher Sigismond, a disciple of Karl Marx, whose Das Kapital had recently appeared — an encounter in which individualistic capitalism meets Marxist collectivism head to head. Both men are idealists in very different ways, Sigismond wanting to ban money altogether to reach a new world of equality and happiness for all, a world in which all will engage in manual labour (shades of the Cultural Revolution!), and be rewarded not with evil money but work-vouchers. Saccard, seeing money as the instrument of progress, recoils in horror. For him, without money, there is nothing.
If Zola vividly presents the corrupting power of money, he also shows its expansive force as an active agent of both creation and destruction, like an organic part of the stuff of life. And it is “life, just as it is” with so much bad and so much good in it, that the whole novel finally reaffirms.
Valerie Minogue has taught at the universities of Cardiff, Queen Mary University of London, and Swansea. She is co-founder of the journal Romance Studies and has been President of the Émile Zola Society, London, since 2005. She is the translator of the new Oxford World’s Classics edition of Money by Émile Zola.
For over 100 years Oxford World’s Classics has made available the broadest spectrum of literature from around the globe. Each affordable volume reflects Oxford’s commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, voluminous notes to clarify the text, up-to-date bibliographies for further study, and much more. You can follow Oxford World’s Classics on Twitter, Facebook, or here on the OUPblog.
黒島 傳治
（明治31.12.2—昭和18.10.17∕西元1898.12.12—1943.10.17）
日本小說家。出身貧農家庭。大學在學中被徵召擔任軍隊的看護兵並遠征西伯利亞，將這段經歷寫成《盤旋的鴉群》以及《橇》等戰爭小說；亦有以農民為主角的無產階級文學作品《豬群》。
再也沒有東西可吃了。連水壺裡的水也已結凍了。槍枝、鞋子，還有身體，全部都沉重得寸步難行。他們已經覺悟到死期將近了。……為什麼非得跋涉到這種雪國荒野裡來殺死俄國人呢？就算擊敗了俄國人，自己這些人也不會有任何好處呀──他們陷入了憂鬱的苦悶。派遣他們前來西伯利亞的人，明知道他們將會像這樣死在雪地裡，卻完全視若無睹。想必這些人現在正縮躲在暖呼呼的暖爐桌裡打著盹兒，一邊嘟囔著窗外的雪下得真美；即便聽到他們死去的消息，也只會隨口應聲：哦，是嗎。
節自《橇》
Philippe Grand, a former chief conservator at the Paris archives, was the first person to reveal evidence of the October 17, 1961 massacre of Algerians in the heart of Paris – one of the darkest chapters of postwar French history. Almost forty years after the hushed-up killings, testimonies by Grand and his colleague Brigitte Lainé helped ensure the massacre was finally recognised in a Paris court. As France marks the 60th anniversary of the atrocity, Grand spoke to FRANCE 24 about his role in safeguarding, and later revealing, the evidence.
On October 17, 1961, as Algeria's bloody war of independence was coming to an end, the Paris federation of the Algerian National Liberation Front staged a protest against a night curfew applied only to Muslims from Algeria. French police brutally cracked down on protesters and in the following hours and days dozens of bodies were found in the Seine river, many with their hands tied behind their backs. Casualty number are still hotly disputed, with some historians saying around 200 people were killed. In the days following the massacre, prosecutors listed the victims’ names and how they were killed, but the Paris court dismissed the homicide cases and the files were piled up in the court’s attics and cellars.
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