川端康成，
川端康成（1899-1972）：『愛する人達』1941文藝時代 『浅草紅団』 （川端康成 著、吉田謙吉 装幀、太田三郎 挿絵）
12●『愛する人達』（新潮社、1941年12月）-●母の初恋、女の夢、ほくろの手紙、夜のさいころ、燕の童女、夫唱婦和、子供一人、ゆくひと、年の暮、を収録。●装幀：芹沢銈介3しき‐し【色紙】の解説1.１和歌・俳句・書画などを書き記す四角い厚紙。5色の模様や金・銀の砂子などを施すものもある。寸法に2種類あり、大は縦6寸4分（約20センチ）・横5寸6分（約17センチ）、小は縦6寸（約18センチ）・横5寸3分（約16センチ）。4川端康成の手紙と色紙5ぶんげいじだい【文藝時代】文芸同人雑誌。大正13年（1924）10月創刊、昭和2年（1927）5月廃刊。川端康成・横光利一・片岡鉄兵ら新進作家によって創刊、その同人は新感覚派と呼ばれた。6『文藝時代』（ぶんげいじだい）は、日本の文芸雑誌。1924年（大正13年）10月に金星堂から創刊された。誌名は、「宗教時代より文藝時代へ」という意図で、発起人の川端康成により名付けられた[1]。創刊号に掲載された横光利一の『頭ならびに腹』により、同人らは「新感覚派」として注目を浴びたが[2][3]、主要な有力同人の個別活動の活発化や、左傾化した一部同人の脱退などにより1927年（昭和2年）5月号（第4巻第5号）をもって終刊した[4][5][6]。7『文藝時代』同人。右から菅忠雄、川端康成、石浜金作、中河与一、池谷信三郎8
大江健三郎看川端康成
As someone living in the present would such as this one and sharing bitter memories of the past imprinted on my mind, I cannot utter in unison with Kawabata the phrase ‘Japan, the Beautiful and Myself’. A moment ago I touched upon the ‘vagueness’ of the title and content of Kawabata’s lecture. In the rest of my lecture I would like to use the word ‘ambiguous’ in accordance with the distinction made by the eminent British poet Kathleen Raine; she once said of William Blake that he was not so much vague as ambiguous. I cannot talk about myself otherwise than by saying ‘Japan, the Ambiguous, and Myself’.
My observation is that after one hundred and twenty years of modernisation since the opening of the country, present-day Japan is split between two opposite poles of ambiguity. I too am living as a writer with this polarisation imprinted on me like a deep scar.
大江健三郎，
Kawabata Yasunari, the first Japanese writer who stood on this platform as a winner of the Nobel Prize for Literature, delivered a lecture entitled Japan, the Beautiful, and Myself. It was at once very beautiful and vague. I have used the English word vague as an equivalent of that word in Japanese aimaina. This Japanese adjective could have several alternatives for its English translation. The kind of vagueness that Kawabata adopted deliberately is implied in the title itself of his lecture. It can be transliterated as ‘myself of beautiful Japan’. The vagueness of the whole title derives from the Japanese particle ‘no’ (literally ‘of’) linking ‘Myself’ and ‘Beautiful Japan’.
The vagueness of the title leaves room for various interpretations of its implications. It can imply ‘myself as a part of beautiful Japan’, the particle ‘no’ indicating the relationship of the noun following it to the noun preceding it as one of possession, belonging or attachment. It can also imply ‘beautiful Japan and myself’, the particle in this case linking the two nouns in apposition, as indeed they are in the English title of Kawabata’s lecture translated by one of the most eminent American specialists of Japanese literature. He translates ‘Japan, the beautiful and myself’. In this expert translation the traduttore (translator) is not in the least a traditore (betrayer).
1994
https://www.nobelprize.org/prizes/literature/1994/oe/lecture/
Professor Kazuo Watanabe 給大江健三郎 永井荷風 珊瑚集 191
永井荷風 給 川端康成
大江健三郎
師長 Professor Kazuo Watanabe
以法國的文藝復興文化，特別是拉伯雷的研究見知於世，完成了的《巨人傳》（被說是不可能翻譯）的日本語譯。以譯業得到1964年讀賣文學獎和1971年度朝日獎。
他做大學教授，培養了二宮敬、串田孫一、森有正、菅野昭正、辻邦生、清岡卓行、清水徹、大江健三郎等多位文學家（他嫌惡「弟子」稱號、稱呼教的學生「年青的朋友」「若い友人」）。
高中在學中的大江健三郎讀了渡邊的《法國文藝復興斷章》（『フランスルネサンス斷章』）大受感動，考進東京大學在渡邊先生門下學習。大江有《日本現代的人文主義者 讀渡邊一夫》（『日本現代のユマニスト 渡辺一夫を読む』）著作。
- 渡辺一夫著作集 全12巻 築摩書房, 1970; 沒後2巻増補
| 獎項 | 芥川龍之介獎（1958年） 新潮社文學獎（1964年） 谷崎潤一郎獎（1967年） 野間文藝獎（1973年） 讀賣文學獎（1983年） 大佛次郎獎（1983年） 川端康成文學獎（1984年） 伊藤整文學獎（1990年） 諾貝爾文學獎（1994年） 朝日獎（1995年） 法國榮譽軍團勳章（2002年）[1] |
|---|---|
| 配偶 | 大江由香里 |
| 兒女 | 大江光（長子） |
| 親屬 | 伊丹萬作（岳父） 伊丹十三（內兄） 宮本信子（妻子之嫂） 池內萬作（妻姪） 池內萬平（妻姪） |
與由加理婚後的1963年，大江夫婦生下了兒子——大江光——因為先天性頭蓋骨異常，即便動手術也無法挽救，若存活下來會留下嚴重後遺症，造成新生兒智能障礙。得 ...
懷念翻譯家彭淮棟先生（1953~2018，東海同學）主要作品：讀小說家大江健三郎(先生 Ōe Kenzaburō 1935~2023)自述：《讀書人：讀書講義》2010《大江健三郎作家自語》2008，
Salamander Story
Francis I's salamander, a permanent fixture at Chambord
If you visit the Château de Chambord, you will undoubtedly come upon a sculpture or molding of a salamander.
The building contains more than 300 depictions of this animal, which was the symbol of King Francis I. But what does it mean? Why was this small amphibian measuring just eight inches long chosen to symbolize royalty?
The salamander's place in the medieval fantastic bestiary
During the Middle Ages, the devout population lived in a world where unknown lands were very real and it was easy to mix the real and the fantastical. The salamander had a place in the bestiary of magical animals. According to legend, this animal that could survive on land and in water could also withstand fire.
This notion arose from the fact that salamanders hibernate in tree stumps and if the stumps were gathered for burning, the creatures would sometimes find themselves in the fireplace by accident. Because their moist skin protected them from the flames for a few seconds, they could escape unscathed from the hearth under the amazed gaze of witnesses!
The salamander and Francis I, master of Chambord
It is easy to understand why this fabled animal, whose reputation fueled fantasies, was chosen by a victorious, venerated king like Francis I. Adopting the salamander as his mascot, he had it carved into his chateaus at Fontainebleau and – most significantly – at the Château de Chambord.
The Chambord salamander is topped with a crown that bears the motto: Nutrisco et Extinguo, which translates loosely as "I feed on the good fire and extinguish the bad". The salamander is shown either spitting water to put out the bad fire or swallowing flames to feed itself with good fire.
It is the perfect symbol for a king who wants both to protect his people, to extinguish the evil fire and withstand – even feed on – a force as destructive as flames.
If you are planning to visit the Château de Chambord, be sure to look out for the stone salamanders hidden all about!
朋友
一擔
Edward W. Said 2003
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