開始在讀27日要討論的2本書：
談 Robert Finlay：鄭明萱譯《青花瓷的故事》(The Pilgrim Art: Cult...
雜談鄭明萱譯作《認識媒體》等等－－3月27日(周日)
AlphaGo 數譯；彭淮棟《貝多芬：阿多諾的音樂哲學》譯跋
誤譯：科技共和國；閱讀日誌； Relief Print
標點重要
誤譯總總: Train Operation Rout Map, 7-11, 老弱婦孺, Air...
晚上10點28，我今天坐過什麼？
中餐排隊人太多，買糙米會去。
聽法理學學會 Justice for Hedgehogs 等等
逛書林，Sound and 有註解本；柯慈 將Boyhood,Youth and Summertime等3書何一
Scenes from Provincial Life
BYALEX PRESTON
Scenes from Provincial Life
J M Coetzee
Harvill Secker, 496pp, £20
David Shields's lightweight diatribe against the novel, Reality Hunger, contains several quotations from the pen of J M Coetzee. In one of these, Coetzee muses on the nature of truth in autobiography: "this massive autobiographical writing enterprise that fills a life, this enterprise of self-construction - does it yield only fictions? How do I know when I have the truth about myself?"
The publication of Coetzee's trilogy of fictionalised memoir - Boyhood,Youth and Summertime - in one handsome volume highlights the uneasy relationship between the reality of his life and the fiction of his books.
Critics had always viewed the first two instalments of this trilogy as somehow hived off from Coetzee's main body of work, in the way that, for instance, we might separate John Updike's Self-Consciousness from theRabbit novels. Boyhood (1997) and Youth (2002) were distant, third-person presentations of Coetzee's life that varied little enough from what we knew of the biography to be treated as straight memoir. They seemed like postmodern parlour games, meditations on the limits of artistic memory.
Little did we know that these reflections would provide the model for Coetzee's output following Disgrace. His later novels sit uneasily in a bookshop's fiction section and withhold many of the satisfactions of the books with which he made his name.
Desiccated and theoretical where the earlier stories were full of vigour, moralising but rarely performing the morality in the way Waiting for the Barbarians (1980) or Disgrace do, Coetzee's most recent novels - Elizabeth Costello, Slow Man and Diary of a Bad Year - represent a turning inwards of the artistic imagination. They are closer in style and tone to the trilogy of memoirs than to anything else in the oeuvre.
It is as if he had decided that, in Disgrace, he had achieved all that was possible with the conventional novel and, unable to continue his literary journey, would blow up the vehicle that was carrying him. Or, perhaps, that the concessions and compromises he had to make to write conventional novels were not worth the candle after Disgrace. This also means that we must look with new seriousness on the trilogy of fictional memoir: far from being outside the canon, these books are central to his literary project.
Boyhood tells of Coetzee's early years in the suburbs of a small town in South Africa and his alienation from multiple cultures: his own Afrikaans heritage, the English his parents had adopted, and the black majority which is - as always in Coetzee's work - silent. In Youth, we follow the Coetzee character to England, where he suffers crushing loneliness, works in the cold world of computer programming and dreams of becoming a great poet.
These are the portraits of the artist as a young no one,Künstlerromanewithout the pay-off of seeing the writer's rise to fame. Youthends with Coetzee staring blindly at a blank page, paralysed by his inability to write his masterpiece. It is striking that he should put out this record of artistic failure so soon after his real-life masterpiece (Disgrace) appeared.
The publication of Summertime (2009) with these two earlier "memoirs" makes us question again our assumptions about the whole trilogy.Summertime is a mash-up of third-person journals and interviews conducted by the author of a biography of the late John Coetzee. The story covers the early 1970s, the period immediately before the publication of J M Coetzee's first novel, the ultra-violent Dusklands (1974).
So, in the trilogy, we have the story of Coetzee's life leading up to the start of his literary career - after this point, the novels take over (and it is interesting that these memoirs are resolutely third-person, while the first two novels have first-person, albeit unreliable, narrators). Also telling is the subtitle appended to the US edition of Summertime: Fiction. The plot of this final book of the trilogy veers more sharply from what we know of Coetzee's life. The John Coetzee of Summertime is the same single but surprisingly promiscuous nebbish whom we left in Youth, now back in South Africa to live with his frail father. In real life, however, Coetzee was then married with two young children and a promising career in academia
Reading the trilogy is a depressing experience, and not only because the Coetzee character is so unpleasant and self-obsessed. By collecting the books in this way, by making a public fuss of them, Coetzee is reinforcing their importance. These miserable memoirs are mere shadows of his greatest work, and remind us only of the dreary later "novels".
For those of us who dream of a return to the magnificence of Waiting for the Barbarians, The Life and Times of Michael K and Disgrace, there is a heartening parallel to be drawn. The pervy, dried-up Coetzee figure in Diary of a Bad Year could have stepped straight from one of Philip Roth's latter novels.
And of course Roth, after the ghastly geriatric squelching of The Humbling, pulled out the near-perfect flourish of Nemesis, as if to prove that he could still do it.
Coetzee read from his as-yet-unnamed new novel at an event in Leeds in June. Let us hope that it leaves behind the sterile ground of Shields's cherished reality and that Coetzee's imagination ranges outwards again.
Alex Preston's second novel, "The Revelations", will be published by Faber & Faber in February
Claudia Lin
9 小時前 ·
一則新聞，害死一條人命。身為記者的我，通常都是幫媒體說話，但我真的覺得這件事媒體要負全責。
該名爆料女子，本身就有很大的問題！跟前夫離婚但依然同居，還有兩個小孩，可是她卻騙許男：前夫是她"爸爸"，兩個小孩是她"弟弟"。該女發現懷孕後，許男本來打算結婚，該女發現瞞不住了，只好向許男坦承，許男每次去她家看到的"爸爸"，其實是前夫，"兩個弟弟"是她跟前夫生的小孩。許男驚覺受騙，提出分手，畢竟誰知道肚子裡的baby是誰的？就算真的是許男的，一段關係建立在謊言跟欺騙上，如果我是許男，我也會要那女的去把baby拿掉，誰想跟這種從頭騙到尾的人在一起啊！
但是上面這些「該女子蓄意欺瞞」的事實，在報導中卻幾乎隻字未提！
有人會說，那是因為許男"不肯受訪"，所以才無從得知。拜託用你們的大腦想一想，發生這種事，海巡署怎麼可能讓許男對外發言？下封口令都來不及了！許男的確可以受訪甚至開澄清記者會，但之後呢？就黑掉了啊！等著長官約談被解職或是被冷凍或是被遠調離島吧！
另外，該女指稱，許男跟她在艦上發生性行為，這點又從何證實？光憑該女的一張嘴，就可以下一個這麼聳動低俗又誤導人的標題？而且還公開那些許男錄給該女的私人影片？這是否已經涉及妨害秘密？
這則新聞從頭到尾，唯一「可證實」的新聞點就是"帶人登艦"，該女爆料的其他東西都是私人行為，而且內容真偽還有很大的疑慮！這樣的「片面之詞」，這種「無法證實」的爆料，為何可以變成新聞？
就算要報導，能報的也只有"帶人登艦"這件事，但是「海巡私自帶女友登艦 遭記過處分」這種標題，怎麼比得上「海巡艦淪淫船 隊員帶女嘿咻」呢？
於是，為了獨家、為了聳動、為了腥羶色、為了點閱率，「成就」了這樣的一則新聞。這則新聞從一開始就不該被報導，其他媒體也不該跟進報導。
記者的筆，編輯的標，主管的審核，這種惡質的新聞生態和爆料文化，寫死了一個人。
PS.然後這種時候真的不需要酸民在那邊留言說風涼話"自殺是最不負責的行為"，在網路上留這種言才是最不負責的行為！少自打嘴巴了！
(我從未這樣要求過，如果你願意的話，請在你的FB上分享這篇文章，真相需要被更多人知道。不過請勿擅自轉貼至ptt、爆料公社、其他論壇或媒體。)
上周四謝世民老師導讀德沃金《刺蝟的正義》ppt及實況錄影上線了! 歡迎點閱。
導讀一開始，謝世民老師解釋了德沃金在本書的核心主張 "The unity of value: value is one big thing"的意思: 德沃金並不否認價值多元論，亦即有倫理、道德、政治、法律等等各種價值。他的真正主張是：各種價值之間並沒有真正的衝突。
德沃金認為，倫理與道德價值是相互依賴的，倫理關乎一個人如何活出一場美好人生，道德則涉及人與人彼此應該如何互相對待。法律是政治道德的一個分支，而政治道德更是個人道德與倫理價值的一個分支。
在這場導讀中，謝老師分就德沃金的價值形上學與知識論（尤其是價值的真理、客觀性與詮釋問題），以及德沃金關於某些核心價值（例如美好人生、政治正當性、法治與正義）的實質理論，作了非常精闢的介紹。錯過現場的朋友，不要再錯過影音檔！
Doubling the Point — J. M. Coetzee, David Attwell | Harvard ...
www.hup.harvard.edu/catalog.php?isbn=9780674215184
Nadine Gordimer has written of J. M. Coetzee that his “vision goes to the nerve ... These essays and interviews, documenting Coetzee's longtime engagement with ... Harvard University Press offices are located at 79 Garden Street, Cambridge, ...Scenes from Provincial Life
BYALEX PRESTON
Scenes from Provincial Life
J M Coetzee
Harvill Secker, 496pp, £20
David Shields's lightweight diatribe against the novel, Reality Hunger, contains several quotations from the pen of J M Coetzee. In one of these, Coetzee muses on the nature of truth in autobiography: "this massive autobiographical writing enterprise that fills a life, this enterprise of self-construction - does it yield only fictions? How do I know when I have the truth about myself?"
The publication of Coetzee's trilogy of fictionalised memoir - Boyhood,Youth and Summertime - in one handsome volume highlights the uneasy relationship between the reality of his life and the fiction of his books.
Critics had always viewed the first two instalments of this trilogy as somehow hived off from Coetzee's main body of work, in the way that, for instance, we might separate John Updike's Self-Consciousness from theRabbit novels. Boyhood (1997) and Youth (2002) were distant, third-person presentations of Coetzee's life that varied little enough from what we knew of the biography to be treated as straight memoir. They seemed like postmodern parlour games, meditations on the limits of artistic memory.
Little did we know that these reflections would provide the model for Coetzee's output following Disgrace. His later novels sit uneasily in a bookshop's fiction section and withhold many of the satisfactions of the books with which he made his name.
Desiccated and theoretical where the earlier stories were full of vigour, moralising but rarely performing the morality in the way Waiting for the Barbarians (1980) or Disgrace do, Coetzee's most recent novels - Elizabeth Costello, Slow Man and Diary of a Bad Year - represent a turning inwards of the artistic imagination. They are closer in style and tone to the trilogy of memoirs than to anything else in the oeuvre.
It is as if he had decided that, in Disgrace, he had achieved all that was possible with the conventional novel and, unable to continue his literary journey, would blow up the vehicle that was carrying him. Or, perhaps, that the concessions and compromises he had to make to write conventional novels were not worth the candle after Disgrace. This also means that we must look with new seriousness on the trilogy of fictional memoir: far from being outside the canon, these books are central to his literary project.
Boyhood tells of Coetzee's early years in the suburbs of a small town in South Africa and his alienation from multiple cultures: his own Afrikaans heritage, the English his parents had adopted, and the black majority which is - as always in Coetzee's work - silent. In Youth, we follow the Coetzee character to England, where he suffers crushing loneliness, works in the cold world of computer programming and dreams of becoming a great poet.
These are the portraits of the artist as a young no one,Künstlerromanewithout the pay-off of seeing the writer's rise to fame. Youthends with Coetzee staring blindly at a blank page, paralysed by his inability to write his masterpiece. It is striking that he should put out this record of artistic failure so soon after his real-life masterpiece (Disgrace) appeared.
The publication of Summertime (2009) with these two earlier "memoirs" makes us question again our assumptions about the whole trilogy.Summertime is a mash-up of third-person journals and interviews conducted by the author of a biography of the late John Coetzee. The story covers the early 1970s, the period immediately before the publication of J M Coetzee's first novel, the ultra-violent Dusklands (1974).
So, in the trilogy, we have the story of Coetzee's life leading up to the start of his literary career - after this point, the novels take over (and it is interesting that these memoirs are resolutely third-person, while the first two novels have first-person, albeit unreliable, narrators). Also telling is the subtitle appended to the US edition of Summertime: Fiction. The plot of this final book of the trilogy veers more sharply from what we know of Coetzee's life. The John Coetzee of Summertime is the same single but surprisingly promiscuous nebbish whom we left in Youth, now back in South Africa to live with his frail father. In real life, however, Coetzee was then married with two young children and a promising career in academia
Reading the trilogy is a depressing experience, and not only because the Coetzee character is so unpleasant and self-obsessed. By collecting the books in this way, by making a public fuss of them, Coetzee is reinforcing their importance. These miserable memoirs are mere shadows of his greatest work, and remind us only of the dreary later "novels".
For those of us who dream of a return to the magnificence of Waiting for the Barbarians, The Life and Times of Michael K and Disgrace, there is a heartening parallel to be drawn. The pervy, dried-up Coetzee figure in Diary of a Bad Year could have stepped straight from one of Philip Roth's latter novels.
And of course Roth, after the ghastly geriatric squelching of The Humbling, pulled out the near-perfect flourish of Nemesis, as if to prove that he could still do it.
Coetzee read from his as-yet-unnamed new novel at an event in Leeds in June. Let us hope that it leaves behind the sterile ground of Shields's cherished reality and that Coetzee's imagination ranges outwards again.
Alex Preston's second novel, "The Revelations", will be published by Faber & Faber in February
Claudia Lin
9 小時前 ·
一則新聞，害死一條人命。身為記者的我，通常都是幫媒體說話，但我真的覺得這件事媒體要負全責。
該名爆料女子，本身就有很大的問題！跟前夫離婚但依然同居，還有兩個小孩，可是她卻騙許男：前夫是她"爸爸"，兩個小孩是她"弟弟"。該女發現懷孕後，許男本來打算結婚，該女發現瞞不住了，只好向許男坦承，許男每次去她家看到的"爸爸"，其實是前夫，"兩個弟弟"是她跟前夫生的小孩。許男驚覺受騙，提出分手，畢竟誰知道肚子裡的baby是誰的？就算真的是許男的，一段關係建立在謊言跟欺騙上，如果我是許男，我也會要那女的去把baby拿掉，誰想跟這種從頭騙到尾的人在一起啊！
但是上面這些「該女子蓄意欺瞞」的事實，在報導中卻幾乎隻字未提！
有人會說，那是因為許男"不肯受訪"，所以才無從得知。拜託用你們的大腦想一想，發生這種事，海巡署怎麼可能讓許男對外發言？下封口令都來不及了！許男的確可以受訪甚至開澄清記者會，但之後呢？就黑掉了啊！等著長官約談被解職或是被冷凍或是被遠調離島吧！
另外，該女指稱，許男跟她在艦上發生性行為，這點又從何證實？光憑該女的一張嘴，就可以下一個這麼聳動低俗又誤導人的標題？而且還公開那些許男錄給該女的私人影片？這是否已經涉及妨害秘密？
這則新聞從頭到尾，唯一「可證實」的新聞點就是"帶人登艦"，該女爆料的其他東西都是私人行為，而且內容真偽還有很大的疑慮！這樣的「片面之詞」，這種「無法證實」的爆料，為何可以變成新聞？
就算要報導，能報的也只有"帶人登艦"這件事，但是「海巡私自帶女友登艦 遭記過處分」這種標題，怎麼比得上「海巡艦淪淫船 隊員帶女嘿咻」呢？
於是，為了獨家、為了聳動、為了腥羶色、為了點閱率，「成就」了這樣的一則新聞。這則新聞從一開始就不該被報導，其他媒體也不該跟進報導。
記者的筆，編輯的標，主管的審核，這種惡質的新聞生態和爆料文化，寫死了一個人。
PS.然後這種時候真的不需要酸民在那邊留言說風涼話"自殺是最不負責的行為"，在網路上留這種言才是最不負責的行為！少自打嘴巴了！
(我從未這樣要求過，如果你願意的話，請在你的FB上分享這篇文章，真相需要被更多人知道。不過請勿擅自轉貼至ptt、爆料公社、其他論壇或媒體。)
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