日本的傳說 柳田國男(Yanakita Kunio 1875~1962)的『遠野物語』（とおの ものがたり1910年）等書，到柳田國男選集5本《吳女考》 /文集《關於先祖》等10本 《日本昔畫》《妖怪談義》《明治大正史•世相篇》《海上之道》《故鄉七十年：柳田國男回憶綠》全集32卷5別卷

從周作人、三島由紀夫等人推介柳田國男(Yanakita Kunio 1875~1962)的『遠野物語』（とおの ものがたり1910年）等書；文豪的家，到柳田國男選集5本《吳女考》    /文集《關於先祖》等10本  《日本昔畫》《妖怪談義》《明治大正史•世相篇》《海上之道》《故鄉七十年：柳田國男回憶綠》全集32卷5別卷

https://www.facebook.com/hanching.chung/videos/835849081444599

★新書預告★

10/2 新書上市

《日本的傳說：那些往昔故事的原型與變遷》

​

——日本民俗學之父柳田國男，梳理日本各地傳說的經典之作——

​

傳說與民間故事有何不同？

或者這麼說吧，

若說民間故事像是動物，那麼傳說就像是植物了。

民間故事流傳四方，無論傳到哪裡都保持著相似的模樣，

而傳說卻會在某處落地生根，不斷成長茁壯，進而因地異貌。

​

日本是個鄉野奇譚多得驚人的國家，

過去，不管在何處總會有些人清楚記得這些傳說，

只是近年來人們關注起其他新穎的事物，

聆聽的人少了，這類故事也就逐漸淡出了眾人的腦海，

甚至被混淆、錯記，或是遺忘了。

​

日本民俗學之父柳田國男頗有所感，於此寫下了這本書，

不僅述記這些傳說的故事原型，以及如何自往昔流傳下來，

並且詳細探究這些故事於日本各地的變異，做出相應的解說，

是理解日本民間傳說最理想的入門。

​

本書特色

​

傳說，傳統是世代之間口傳而下的，然而一方面是資訊管道多了，兒童不再從祖輩那裡大量聽得傳說與民間故事；另一方面，一九七○、八○的年代，多套暢銷的民間故事套書，在學齡童年，以中國民間故事，替代了本地世代傳承的台灣民間故事，台灣本地的傳說與民間故事，迅速地在幾十年內被覆蓋、被耽誤、被錯解，甚至遺忘。

​

閱讀日本民俗學之父柳田國男本於「現地調查主義」所寫就的《日本的傳說》，可以喚起我們給予台灣各方四地的傳說一些些的關注，更提供對於本地傳說、民間故事有心之人，效模去記寫、去傳述尚可追尋的傳說與民間故事。

#日本  #傳說 #柳田國男

從,.周作人推介. 『遠野物語』（とおのものがたり1910年）等書，到柳田國男選集5本/文集10本  《日本昔畫》《妖怪談義》《明治大正史•世相篇》《海上之道》《柳田國男回憶綠》全集32卷

 《日本民俗文化誌──文化基層與周邊之探索》Kokubu Naoichi · 國分直一

 柳田 國男《明治大正史•世相篇》
柳田國男 『遠野物語』（とおのものがたり）1910年；1976年 『遠野物語』森山 大道

柳田国男 『海上の道』

"遠野物語（とおのものがたり）是柳田國男在1910年（明治43年）發表的傳說集。日本民俗學的名著



Title： 組曲「遠野物語」 （Meaning "Suite: The Legends of Tono".）
https://www.youtube.com/watch?v=W0sYXuq6ISQ
森山 大道（もりやま だいどう、本名：-ひろみち、1938年10月10日 - ）は、日本の写真家。

1976年 『遠野物語』（朝日ソノラマ）
Tales of Tono. Asahi Sonorama, 1976


Amazon.com: Daido Moriyama: Tales of Tono (9781938922022 ...

https://www.amazon.com/Daido-Moriyama-Tales-Tono/dp/1938922026


Amazon.com: Daido Moriyama: Tales of Tono (9781938922022): Daido Moriyama, Lena Fritsch, Simon Baker: Books.

https://vimeo.com/81949773



柳田 國男（やなぎた くにお、1875年（明治8年）7月31日 - 1962年（昭和37年）8月8日）は、日本の民俗学者・官僚。現在の兵庫県神崎郡福崎町生まれで、最晩年に名誉町民第1号となった。没後に正三位勲一等。当時の池田首相が「民間人とはいえ、これだけの人物に瑞宝章では軽い」と発言し旭日大綬章が供えられた。帝国憲法下の農務官僚で貴族院書記官長、終戦後から廃止になるまで最後の枢密顧問官に就いた^[1]。

柳田國男（1875年7月31日－1962年8月8日）是一名日本的民俗學者。

1875年生於兵庫縣，是儒學者松岡操的六男。松岡家是醫生的血統。東京帝大法學部畢業。他是日本從事民俗學田野調查的第一人，他認為妖怪故事的傳承和民眾的心理和信仰有著密切的關係，將妖怪研究視為理解日本歷史和民族性格的方法之一。早期的作品《遠野物語》詳述天狗、河童、座敷童子、山男，使這些妖怪聲名大噪，蔚為主流。他一生思想與思考方法盡在《妖怪談義》這本書中。他在大學期間並沒有學習過民俗學，是一邊工作一邊從事民俗學的開拓和研究，之後成為大學教師，並且在二次大戰後將民俗學從「在野的」學問，變成大學正式的研究科目，被尊稱為日本民俗學之父。後人整理成《柳田國男全集》全32卷。

明治維新生活史（簡體書）
ISBN13：9787538750898
出版社： 時代文藝出版社
作者：(日)柳田國男
裝訂／頁數：精裝／348頁
出版日：2016/02/01

内容简介  · · · · · · 《明治维新生活史》原名为《明治大正史•世相篇》，成书于1930年，距离1870年代明治维新已经一甲子的时光，日本社会在经济、文化、习俗、语言、思想观念等各方面都发生了翻天覆地的变化。本书正是为了详尽记录、解析日本社会在这数十年中如何激烈变化而编篡的，其着眼处绝无空泛，而是直接将当时日本人身边所亲身接触的人、事、物拿来解析。 如首章论述社会上的新生事物，解析对象便是新潮的衣物材料、染色以及鞋子等，先讲述明治维新前的日本人的木棉衣物、植物染色以及穿着木屐，再讲日本人是如何一步步学会制作现代纺料衣物、化学染料等。其后每一章基本都是如此，食物的变化、建筑的变化、对环境的改造、交通的进步、酒对社会的影响、对恋爱婚姻的态度、家庭制度的演化、劳动制度的演化、对贫穷病害的对应等，林林总总无所不包。凡有赞有贬之处，均以实在的证据加以佐证，即对日本过往数十年中所取得的进... (展开全部) 举报 作者简介  · · · · · · 柳田国男，日本民俗学家、诗人、思想家。1875年，生于兵库县；1900年，东京大学政治专业毕业；早年曾投身于文学事业，三十岁时离开文坛，开始研究民俗学；曾任《朝日新闻》评论员，1932年辞职后，专攻民俗学，创立了民间传说会、民俗学研究所；1951年荣获日本文化勋章。他是日本从事民俗学田野调查的第一人，日本民俗学创立者。主要著作有《远野物语》《桃太郎的诞生》《民间承传论》《国史与民俗学》《关于先祖》等，后人整理成《柳田国男全集》全32卷。 目录  · · · · · · 目录 第一章 映入眼中的世相 001 一 新色音论 001 二 染物师与禁色 003 三 幻想成为现实 006 四 牵牛花的预言 009 五 从棉花到人造绢 012 六 对于流行的误解 016 七 职业装的搜索 020 八 布袜与木屐 024 九 时代之音 028 第二章 食物的个人自由 031 一 村之香 祭之香 031 二 小火锅和火锅料理 034 三 珍贵的米 038 四 鱼烹饪法的变迁 042 五 蔬菜和盐 046 六 菓子和砂糖 050 七 肉食的新日本式 053 八 外出吃饭 058 第三章 家与居住舒适度 063 一 脆弱的住房 063 二 小屋与长屋的修炼 066 三 从窗户纸到窗玻璃 070 四 卧室与棉织睡衣 074 五 房间和坐垫 077 六 出居的衰微 081 七 木材的浪费 084 八 庭园艺术的诞生 089 第四章 风光推移 093 一 山水与人 093 二 都市与古迹 096 三 远眺大海 099 四 田园的新色彩 103 五 山巅变水田 106 六 武藏野的鸟 109 七 属于家庭的动物 113 八 与野兽交往 116 第五章 故乡异乡 119 一 村庄的奋发 119 二 街道的人气 122 三 了解异乡 127 四 观察世间之目 130 五 地方抗争 133 六 岛与五箇山 137 第六章 新交通与文化输送者 141 一 人力车的发明 141 二 进入自行车村 144 三 火车的巡礼本位 147 四 水路的变化 150 五 旅行与商业 152 六 旅行之道的衰微 157 第七章 酒 161 一 需要喝酒的社交 161 二 酒屋之酒 165 三 浊密地狱 168 四 无酒日 170 五 酒与女性 173 第八章 恋爱技术的消长 177 一 非小笠原流的婚姻 177 二 高砂业的沿革 181 三 恋爱教育的旧机关 185 四 临时契约 188 五 殉情文学的兴起 191 第九章 家族长存的心愿 197 一 家长的拘束 197 二 灵魂与土地 199 三 明治的神道 202 四 武士家族和家庭迁移 206 五 职业分化 209 六 家庭情结的发展 213 第十章 生产与商业 217 一 本职工作与副业 217 二 农业的一个优点 221 三 渔民家业的不安 225 四 产能过剩 229 五 商业的利与弊 233 第十一章 劳动力的分配 237 一 农民工劳动力的统一管 237 二 家乡的力量和移民 241 三 女性的劳动 243 四 职业妇女的问题 246 五 亲方制度的崩溃 248 六 海上从业者的将来 252 第十二章 贫穷与疾病 259 一 衰退与贫困 259 二 新的灾祸 262 三 了解更多的健康知识 265 四 医生的掣肘 270 五 孤苦无依和社会病 274 第十三章 从众心理 277 一 组织的自治与联系 277 二 由互助会而来的无尽业 281 三 青年团和妇女会 285 四 流行的各种经验 289 五 运动与参与人数 292 六 弥次马心理 294 第十四章 鹤立鸡群的英雄 299 一 期盼英雄的出现 299 二 选手的养成 303 三 亲分割据 306 四 落选者的行踪 310 五 恶徒的衰败 313 第十五章 改善生活的目标 319 跋 327 近十年中國可能翻譯出版十多本柳田國男的書。 包括自傳 故鄉七十年。 **** 轉  紙上極樂   ·  柳田國男，日本民俗學家，筆名赤松國祐、 久米長目、 川村香樹等。1875年生於兵庫縣，1890年上京，師事桂園派詩人松浦辰南，柳田1900年畢業於東京帝大政治科。 柳田國男原姓松岡，弟弟是畫家松岡映丘，父親松岡賢次是儒醫。26歲時他進入柳田家，當了柳田直平的養子。 松岡時期的國男性情還好，成了柳田國男從東京大學畢業進入農業部當官後，從此趾高氣揚，鼻孔朝天，官模官樣。 柳田國男讀高中時極愛寫新詩送給少女，而且數量不少，他和國木田獨步、田山花袋是詩歌「三賤客」，天天寫詩歌到處騙女人，三人還一起合出過詩歌集。 可是自從東大畢業當上農業官僚之後的柳田國男整個人就變了，他極力隱瞞年少輕狂時的種種風流事蹟，甚至看不起同時代的日本文學和詩歌，尤其嚴禁晚輩們閱讀私小說。 柳田國男的民俗學著作《遠野物語》相當有名，但再怎有名我還是對他無任何好感。柳田國男1962年死去。他年輕時戀愛無數次，至少辜負四名愛他的女子。 忘了講這人，佐佐木喜善，東北岩手縣遠野市人，早稻田大學文學科畢業，是一位岩手縣「鬼怪物語」蒐集狂，他同時也是啟發柳田國男寫出《遠野物語》的民俗學大家。 荒涼的岩手縣如果沒有"佐佐木喜善"等於沒有鄉野傳說和怪奇童話。佐佐木喜善1886年生，1933年死去。 柳田國男中譯本《遠野物語》由聯合文學於2014年出版，可能沒人炒作，感覺賣量不是很好。感覺而已，說錯不管。 照片 / 《遠野夢詩人 - 佐々木喜善と柳田國男》 三好京三著 日本PHP文庫 1991年出版 *****

《日本民俗文化誌──文化基層與周邊之探索》 · 國分直一

日本民俗文化誌--古層とその周辺を探る 作者 : 國分直一

	日本民俗文化誌--文化基層與周邊之探索
	作者 : 國分直一
	出版時間 : 2011/9/22
	出版單位 : 國立臺灣大學出版中心
	裝訂 : 精裝

日語原文	国分直一
假名	こくぶ なおいち
平文式羅馬字	Kokubu Naoichi

有「全方位的民族考古學者」之稱的國分直一教授 (1908~2005)以其史學與考古學的學術專長，於1933年於臺北帝大時期在臺灣進行人文歷史環境的研究工作。至1945年日治時期結束，與金關丈 夫一同被國民政府留任，於臺灣大學繼續相關教學與研究工作，至1949年回日本定居教學。臺大人類學系的陳奇祿教授、宋文薰教授均曾為其得意門生。
國分教授學術態度嚴謹，著述勤奮，主要學術領域擴及日本、韓國、中國、琉球與臺灣等地區，藉由海洋潮流－黑潮文化之概念組織各民族文化之關係，其研究的深 度與廣度，至今仍少出其右者。重要著作有《環中國海民族文化考》、《台灣考古誌》、《台灣的民俗》等，教授筆耕不輟，至2005年(96歲高齡辭世前)留 下《日本民俗文化誌》書稿。 國分教授的畢生典藏豐富，臺大圖書館自2008年5月起，即積極爭取家屬同意將教授畢生收藏贈送台大，至2010年6月，該批圖書資料與典藏文物終於運抵 臺大圖書館，散置海外的臺灣史前文物重歸故土意義非凡。教授遺作《日本民俗文化誌》於2011年9月由國立臺灣大學圖書館同步出版日文原文及中文譯本，同 時，臺大圖書館隆重邀集了臺灣、日本、韓國等十多位學者舉辦「全方位的民族考古學者─國分直一 國際學術研討會」、「國分直一著作展」、「國分直一藏書與標本文物展」、「《日本民俗文化誌》新書發表會」等系列推廣活動。(活動詳參：國立臺灣大學圖書 館 國分直一學術研討會 http://act.lib.ntu.edu.tw/act/show?id=328)



本書主要收錄國分直一教授自1970年代以後的文章，內容上雖然多以日本考古課題為主，但實際上的論述範圍則廣及東亞的大陸與海島，即其所稱之東亞地中海 區域。議題則包括考古、語言、民俗、民族與文化人類學等各領域，處處展現國分先生自始以來過人的豐富組織力。整本書也像是一本東亞古代文化的大辭典， 詞目脈絡分明、交織出現於各個議題中。
在臺灣考古研究方面，本書在臺灣史前族群的來源與去向、風俗的形成與影響，或史書中的臺灣等議題上提供了動人的思考方向。除此，日本與臺灣同樣位於東亞大 陸沿海，一方面有著海島的性格，另方面卻自始以來同樣受到東亞大陸的影響，因之日本的考古研究對臺灣也有著重要的參考價值。 (本文引自: 陳有貝, 2011,「國分直一與臺灣考古學」,《日本民俗文化誌》序)


序
海外遺珍返歸故土／陳雪華
臺灣原住民與東亞地中海──國分直一教授學術志業下的番人想像／孫大川　Paelabang danapan
把眼光拉高到整個亞太地區　用更大的視野探討民俗文化／楊南郡
國分直一與臺灣考古學／陳有貝
代序
思念國分直一和馬淵東一兩位恩師──給木下尚子教授的公開信／宋文薰
國分直一教授的不朽貢獻／木下尚子

第一篇　作為終點站的列島
第一章　東亞的終點站　　探索我國列島文化的基層
序章
一、更新世的日本列島
二、繩文人的祖先集團登場
三、繩文草創期陶器最早出現的地區和情形
四、繩文早期以後的九州　　鹿兒島縣上野臺地遺址的特別巡禮
五、東日本繩文社會的確立與發展　　關於東北的狀況
六、列島的北邊和南海島嶼地方

第二章　日本文化的形成　　雙重構造的形成與發展
序章
一、基層集團的形成　　繩文人的祖先出現
二、日本人與文化底層構造的形成
三、國家的形成與地區的抵抗
四、民俗文化上國家層次的與地區、村落層次的傳統

第三章　『魏志』倭人傳的倭地與倭人觀
一、倭地的方位觀
二、東海地區倭的世界

第四章　古代的船與造船技術
一、探索半構造船的出現
二、關於造船技術　　獨木船到構造船　　徐瀛洲的發現
三、彌生時代的渡洋船

第五章　海上之道與神功傳說

第六章　日本民族和其週邊　　和金關丈夫、村山七郎兩位教授對談
一、地名的問題
二、適用語言年代學
三、和南島語的對比
四、之前都為人所忽略的問題
五、語言中所見臺灣與琉球的關係
六、原始的薯類栽培和神話
七、臺灣的高砂族語言
八、琉球諸島周邊更新世人
九、南島史前時代研究的進展
十、朝鮮語和南島語的關係
十二、朝鮮半島南島語的阿爾泰化
十三、委＝倭的相關問題
十四、日本語的阿爾泰化
十五、透過南島語成立的比較語言學
十六、琉球語當中發現的通古斯系要素

第二篇　栽培、社會、思想
第一章　史前古代的栽培
一、關於史前古代的栽培
二、日本的稻作原鄉

第二章　史前古代社會
一、社會的特徵　　關於雙分組織
二、原山支石墓的意義
三、律令政治與雜穀社會
四、古代日向　　畿內系政治事例與土著社會

第三章　古代的西國與東國
一、豐國和常陸國　　風土記中的西國與東國
二、古代的東國　　和西方的差異以及關聯

第四章　東北的海與河，以及愛奴語族　　遙遠的足跡
一、東北的海、人和動物
二、愛奴語族的活動痕跡和大陸系種族的出現
三、壓制蝦夷的北征和山夷的形成
四、東北與九州　　再看社會組織
五、中世的蝦夷
六、團獵和鮭、鱒的漁獵

第五章　繩文人的思想和語言　　再考
一、空白與空間的不安
二、推測的繩文人語言

第六章　史前古代社會中的時間

第七章　先史古代人的夢

第八章　從人類學的立場看　　家族相關的問題
一、序言　　問題的設定
二、家族與社會
三、結語─戰後日本社會的結構變化與家族

第三篇　探索民俗
第一章　民俗學與考古學

第二章　巫術及其功能
前言
一、維納斯的出現
二、薩滿與巫術
三、習俗的規範
四、二重的性
五、死後的世界

第三章　身體裝飾與民俗
一、關於裝飾品
二、面具、裝扮和身體變相
三、化妝和假髮

第四章　倭人的風俗

第五章　習俗所見支那海各地區間的關係

第六章　雙性的神人　　男人＝女人　　以南西諸島為例

第七章　都市和鄉村的民俗
前言
一、都市和鄉村
二、都市和鄉村的儀式祭典

第八章　近世知識分子的地方風俗發現之旅
代序
一、學者對民俗的關心
二、本草家所見的地方文化
三、名越左源太和奄美大島

第四篇　附篇
第一章　王健群的『好太王碑研究』

第二章　柳田國男與「海上之道」

第三章　えとのす　　 Ethnos in Asia 　　運動始末記
一、長年來的構想
二、不被看好
三、關於 W. Eberhard 教授
四、關於編輯與企劃
五、拜訪愛奴的村落
六、充滿起伏的韓國之旅
七、沒有為民族學點燈
八、再度探討的東北民俗

後記

序一：陳有貝‧國立臺灣大學人類學系副教授

觀看國分先生的文章，他總是能帶著我們跨越海洋，來到台灣島周邊甚至更遠的地方，比較文化風俗的異同，找尋文化族群的親緣。與其說國分先生研究的特點在於多學科的綜合，不如說考古學原本就該是沒有學科的限制，國分先生的努力與成果便是這個概念的最佳驗證。
國分先生以96歲高齡於2005年去世，生前於考古研究從未間斷。2010年台灣大學除了將其遺稿以本書整理出版外，亦將他在山口縣家中的收藏品運送來 台，其中主要便是他過去於台灣所收藏的考古標本，這批標本件件都有著當年的記錄，有些也已發表於論文或專書。重新「發掘」這些「遺物」，藉此也透視到了器 物背後－這位一生對台灣考古充滿熱情與堅定意念的人。

序二：孫大川paelabang danapan‧行政院原住民族委員會主委

本 書談的雖然是日本文化及國族的起源與構成，但其視野卻遍及整個東亞，從北方的寒帶到南方的亞熱帶，通過海域、陸路，結合各種專業領域和民俗調查，呈現一個 既分享這整塊區域之文化元素，卻又具有獨特面貌的日本文明。誠如國分教授在後記所說的，這是二次大戰結束後日本國族論述的「新動作」，我沒有能力評斷這個 新動作對日本本身的意義，但做為一個台灣的原住民，國分教授等人所開啟的視野，卻清楚地提供了一個以臺灣為起點的歷史地理座標。教授的研究，特別強調台灣 等地南島文化的重要性。如果「東亞地中海」的概念真如先生等人所理解的，可以做為環東中國海領域歷史、文化詮釋的另一扇窗戶；那麼，我們對臺灣、對原住民 的地位應該可以有一個全新的評價。長久以來，臺灣歷史、文化意識的形塑，總是圍繞在中國史地和漢族文化圈內打轉，即使到了今天，還是跳不出統、獨的糾葛。 面對全球自然環境議題的急迫性以及網路時代的來臨，即便晚了半個多世紀，臺灣是不是也應該開始有一些「新動作」呢？我們將如何看待台灣在整個東亞的位置？ 做為遼闊南島語族的重要成員，臺灣原住民可以提供一個什麼樣具有遠見和想像力的觀點？

序三：楊南郡‧國立東華大學名譽博士

在 本書裡，國分教授運用民俗文化與考古學，探討日本民族的源流與位居「東亞地中海」終點站的日本列島文化。他提出早年日本也曾有巫術、避邪、拔齒、紋身等身 體毀飾，以及運用貝類裝飾等習俗，與台灣高山原住民族和平埔族，在文化、習俗與規範上，有類似的共通性。這樣的思考，不再侷限於單一的地區，而是把眼光拉 高到整個亞太地區海島民族，用更大的視野來探討民俗文化的異同。

。。。。

★新書預告★

10/2 新書上市

《日本的傳說：那些往昔故事的原型與變遷》

​

——日本民俗學之父柳田國男，梳理日本各地傳說的經典之作——

​

傳說與民間故事有何不同？

或者這麼說吧，

若說民間故事像是動物，那麼傳說就像是植物了。

民間故事流傳四方，無論傳到哪裡都保持著相似的模樣，

而傳說卻會在某處落地生根，不斷成長茁壯，進而因地異貌。

​

日本是個鄉野奇譚多得驚人的國家，

過去，不管在何處總會有些人清楚記得這些傳說，

只是近年來人們關注起其他新穎的事物，

聆聽的人少了，這類故事也就逐漸淡出了眾人的腦海，

甚至被混淆、錯記，或是遺忘了。

​

日本民俗學之父柳田國男頗有所感，於此寫下了這本書，

不僅述記這些傳說的故事原型，以及如何自往昔流傳下來，

並且詳細探究這些故事於日本各地的變異，做出相應的解說，

是理解日本民間傳說最理想的入門。

​

本書特色

​

傳說，傳統是世代之間口傳而下的，然而一方面是資訊管道多了，兒童不再從祖輩那裡大量聽得傳說與民間故事；另一方面，一九七○、八○的年代，多套暢銷的民間故事套書，在學齡童年，以中國民間故事，替代了本地世代傳承的台灣民間故事，台灣本地的傳說與民間故事，迅速地在幾十年內被覆蓋、被耽誤、被錯解，甚至遺忘。

​

閱讀日本民俗學之父柳田國男本於「現地調查主義」所寫就的《日本的傳說》，可以喚起我們給予台灣各方四地的傳說一些些的關注，更提供對於本地傳說、民間故事有心之人，效模去記寫、去傳述尚可追尋的傳說與民間故事。

#日本  #傳說 #柳田國男

台北書緣 (6)：《 柏 德 遜 》 (Paterson by William Carlos Williams，1958 全書完成 ) 張錯譯，台 北， 1978《張錯詩集 I/II》《傷心菩薩》......

  台北書緣 (6)：《 柏 德 遜 》 (Paterson by William Carlos Williams，1958 全書完成 ) 張錯譯，台 北， 1978

https://www.facebook.com/hanching.chung/videos/246728107446310

台北書緣 (6)：

.....醫生，你是否相信

"人民"，民主？你仍否

相信----在這些腐敗垃圾城市？

喂？醫生？你是否？

---《 柏 德 遜 》p.266

Paterson (Books I-V in one volume, (1963) 含注/解說 552頁)

WC.威廉斯【柏德遜】(初版, 阿爾泰出版社, 譯者, 翱翱 (張錯) ...1978
《 柏 德 遜 》 (Paterson by William Carlos Williams)( 台 北 黎 明?? ， 1978)。William Carlos Williams (1883 - 1963)，原詩出版於 1946, 1948, 1949, 1951,和 1958。

張錯，原名張振翱，曾用筆名翱翱，廣東省惠陽縣人，民國三十二年十月生於澳門。

這本《 柏 德 遜 》是他年輕時的"少作"，約40年。簽名是在他近年好朋友出書的場合。

他現在詩領域方面的創作仍勤而有力，2021年出版2本詩集，質與量俱佳。 《張錯詩集 I/II》(台北：書林，2016)

散文集如《傷心菩薩》(允晨文化，2016)，功力深厚。

張錯Dominic Cheung 老師現在每日在其facebook 都有圖文並茂的小詩/摘句和照片，很難得。

譬如說，昨天起，採用里爾克詩之摘句。今天為：

就讓玫瑰每年為他綻放

那是奧菲厄斯！他的變形

千變萬化，不需煩心

——里爾克

For it is the roses

Which salute Him year by year with their petals.

This, you see, is Orpheus. His transformations

Run through this and through that.

——Rilke

(圖略)

Paterson by William Carlos Williams

英文全文

https://archive.org/stream/PatersonWCW/Paterson-William_Carlos_Williams_djvu.txt

The Paris Review

“Dear Mama: The reason I didn’t write last Sunday was because I was out of town. My friend Pound invited me to spend Saturday and Sunday with him … His parents are very nice people and have always been exceptionally kind to me.” — William Carlos Williams

Letters of a Nerd: William Carlos Williams Writes to His Mom

“The people I met are too sporty for me,” Williams wrote to his mother, having trouble finding his footing in medical school.

THEPARISREVIEW.ORG

Richard Lehan  《文學中的城市》The City in Literature: An Intellectual and Cultural History: Richard ...1998  上海人民  2008

The City in Literature: An Intellectual and Cultural History

books.google.com.tw/books?isbn=0520212568

Richard Daniel Lehan - 1998 - ‎Literary Criticism

LITERATURE/URBAN STUDIES "Richard Lehan's is the first book to tackle, head-on, the way in which the city has simultaneously become a literary construct of ...
~~~~

'Paterson': A Love Poem To Poetry, From Director Jim Jarmusch : NPR

www.npr.org/2016/12/.../paterson-a-love-poem-to-poetry-from-director-jim-jarmusc...

Dec 27, 2016 - It was inspired, in part, by an epic William Carlos Williams poem. ... In his latest film, Paterson, Jarmusch takes that idea one step further.

游常山

2017.2.9

反戰詩人?公車司機?

藝術電影巨匠賈木許導演?他迷上了醫生詩人威廉斯嗎? 或是他覺得人生不值得活的,除非寫詩歌?賈木許導演是這個意思嗎?

美國文壇名詩人1960年代狂飆代表的金斯堡 與醫師詩人William Carlos Williams都是紐澤西州的派特森市的出身

公車司機也是詩人: 導演賈木許Jarmusch的【派特森】詩人情節,/情結

這是我看的第二部賈木許,【愛情不用尋找】七年前看的, 這導演真另類,人文素養無疑很深厚,難怪潔西卡蘭芷等大牌都甘心票戲

公車司機愛寫詩,然後寶貝手稿被家中的牛頭犬狗兒子咬碎了, 傷心之餘遇到日本詩人,又被鼓舞,就是這樣無聊的故事, 這部「派特森」平淡如水,奇怪卻很有問題,我都沒有被催眠......

*****

Paterson (poem) - Wikipedia, the free encyclopedia

Paterson (poem)

From Wikipedia, the free encyclopedia

Paterson is a poem by influential modern American poet William Carlos Williams.
The poem is composed of five books and a fragment of a sixth book. The five books of Paterson were published separately in 1946, 1948, 1949, 1951, and 1958, and the entire work was published as a unit in 1963. This book is considered to be Williams' epic. Williams' book In the American Grain is claimed to be Paterson's abstracted introduction involving a rewritten American history. It is a poetic monument to, and personification of, the city of Paterson, New Jersey. However, as a whole the three main topics of the poem are Paterson the Man, Paterson the City, and Identity. The theme of the poem being centered in an in-depth look at the process of modernization and its effects.

[edit] Composition

Williams saw the poet as a type of reporter, who relays the news of the world to the people. He prepared for the writing of Paterson in this way:

I started to make trips to the area. I walked around the streets; I went on Sundays in summer when the people were using the park, and I listened to their conversation as much as I could. I saw whatever they did, and made it part of the poem.^[1]

While writing the poem, Williams struggled to find ways to incorporate the real world facts obtained through his research into the poem. On a worksheet for the poem, he wrote, "Make it factual (as the Life is factual-almost casual-always sensual-usually visual: related to thought)". Williams considered, but ultimately rejected, putting footnotes into the work describing some facts. Still, the style of the poem allowed for many opportunities to incorporate 'factual information', including portions of his own correspondence with the American poet Marcia Nardi and fellow New Jersey poet Allen Ginsberg ^[2].

[edit] References

1. ^ Bollard, Margaret Lloyd (1975). "The "Newspaper Landscape" of Williams' "Paterson"". Contemporary Literature (University of Wisconsin Press) 16 (3): 317. doi:10.2307/1207405. http://links.jstor.org/sici?sici=0010-7484%28197522%2916%3A3%3C317%3AT%22LOW%22%3E2.0.CO%3B2-3.
2. ^ Bollard (1975), p. 320

© g. Paul Bishop 1955

WILLIAM CARLOS WILLIAMS
Poet/Physician

1883 - 1963

-----

William Carlos Williams was born on September 17, 1883, in Rutherford, New Jersey. His father had emigrated from Birmingham, England, and his mother (whose mother Basque and whose father was of Dutch-Spanish-Jewish descent) from Puerto Rico. Williams attended schools in Rutherford until 1897, when he was sent for two years to a school near Geneva and to the Lycée Condorcet in Paris. On his return he attended the Horace Mann High School in New York City. After having passed a special examination, he was admitted in 1902 to the medical school of the University of Pennsylvania. There he met two poets, Hilda Doolittle and Ezra Pound. The latter friendship had a permanent effect; Williams said he could divide his life into Before Pound and After Pound.

Williams did his internship in New York City from 1906 to 1909, writing verse in between patients. He published a first book, Poems, in 1909. Then he went to Peipzig in 1909 to study pediatrics, and after that retuned to Rutherford to practice medicine there for the rest of his life. In 1912 he married Florence Herman (or "Flossie"). In 1913 Pound secured a London publisher for Williams' second book, The Tempers. But his first distinctly original book was Al Que Quiere! (To Him Who Wants It!), published in Boston in 1917. In the following years he wrote not only poems but short stories, novels, essays, and an autobiography. In 1946 he began the fulfillment of a long-standing plan, to write an epic poem, with the publication of Paterson, Book I. The three following books appeared in 1948, 1949, and 1951; in 1952 he suffered a crippling stroke, which forced him to give up his medical practice and drastically limited his ability to write. Nonetheless he continued to so so, producing an unanticipated fifth book of Paterson in 1958 as well as shorter poems. He died in Rutherford in March 4, 1963. Two months later his last book of lyrics won the Pulitzer prize for poetry.

***

帕特森 （Paterson, New Jersey）是美國新澤西州巴賽克縣縣治。面積22.6平方公里，2006年人口148,708人，是該州第三大城市。^[1]
1831年4月11日設鎮，1851年4月14日建市。
In 1791, Alexander Hamilton helped found the Society for the Establishment of Useful Manufactures (S.U.M.), which helped encourage the harnessing of energy from the Great Falls of the Passaic, to secure economic independence from British manufacturers. Paterson, which was founded by the society, became the cradle of the industrial revolution in America. Paterson was named for William Paterson, Governor of New Jersey, statesman, and signer of the Constitution.
French architect, engineer, and city planner Pierre L'Enfant, who developed the plans for Washington, D.C., was the first superintendent for the S.U.M. project. He devised a plan, which would harness the power of the Great Falls through a channel in the rock and an aqueduct. However, the society's directors felt he was taking too long and was over budget. He was replaced by Peter Colt, who used a less-complicated reservoir system to get the water flowing to factories in 1794. Eventually, Colt's system developed some problems and a scheme resembling L'Enfant's original plan was used after 1846. L'Enfant, meanwhile, brought his city plans with him when he designed Washington, and that city's layout resembles the plan he wanted to develop for Paterson.
The industries developed in Paterson were powered by the 77-foot high Great Falls, and a system of water raceways that harnessed the power of the falls. The city began growing around the falls and until 1914 the mills were powered by the waterfalls. The district originally included dozens of mill buildings and other manufacturing structures associated with the textile industry and later, the firearms, silk, and railroad locomotive manufacturing industries. In the latter half of the 19th century, silk production became the dominant industry and formed the basis of Paterson's most prosperous period, earning it the nickname "Silk City." In 1835, Samuel Colt began producing firearms in Paterson, although within a few years he moved his business to Hartford, Connecticut. Later in the 19th century, Paterson was the site of early experiments with submarines by Irish-American inventor John Holland. Two of Holland's early models — one found at the bottom of the Passaic River — are on display in the Paterson Museum, housed in the former Rogers Locomotive and Machine Works near the Passaic Falls.
The city was a mecca for immigrant laborers who worked in its factories as well. Paterson was also the site of historic labor unrest that focused on anti-child labor legislation, and the six-month long Paterson silk strike of 1913 that demanded the eight-hour day and better working conditions, but was defeated by the employers with workers forced to return under pre-strike conditions. Factory workers labored long hours for low wages under dangerous conditions, and lived in crowded tenement buildings around the mills. The factories then moved south where there were no labor unions, and later moved overseas.
In 1932, Paterson opened Hinchliffe Stadium, a 10,000-seat stadium named in honor of John V. Hinchliffe, the mayor at the time. Hinchliffe originally served as the site for high school and professional athletic events. From 1933–1937, 1939–1945, Hinchliffe was the home of the New York Black Yankees and from 1935-36 the home of the New York Cubans of the Negro National League. The historic ballpark was also a venue for many professional football games, track and field events, boxing matches and auto and motorcycle racing.Abbott and Costello performed at Hinchliffe prior to boxing matches. Hinchliffe is one of only three Negro League stadiums left standing in the United States, and is on the National Register of Historic Places. In 1963, Paterson Public Schools acquired the stadium and used it for public school events until 1997, but it is currently in a state of disrepair, while the schools have been taken over by the state.
During World War II Paterson played an important part in the aircraft engine industry. By the end of WWII, however, there was a decline in urban areas and Paterson was no exception, and since the 1970s the city has suffered high unemployment rates.
Once a premier shopping and leisure destination of northern New Jersey, competition from the malls in upscale neighboring towns like Wayne and Paramus have forced the big-chain stores out of Paterson’s downtown. The biggest industries are now small businesses because the factories have moved overseas. However, the city still, as always, attracts many immigrants. Many of these immigrants have revived the city's economy especially through small businesses.
The downtown area was struck by massive fires several times, most recently Jan. 17, 1991. In this fire, a near full city block (bordered on the north and south by Main and Washington Street and on the east and west by Ellison Street and College Boulevard, a stretch of Van Houten Street that is dominated by Passaic County Community College) was engulfed in flames due to an electrical fire in the basement of a bar at 161 Main Street and spread to other buildings.^[8] Firefighter John A. Nicosia, 28, of Engine 4, went missing in the fire, having gotten lost in the basement. His body was located two days later.^[9] A plaque honoring his memory was later placed on a wall near the area. The area was so badly damaged that most of the burned buildings were demolished, with an outdoor mall standing in their place. The most notable of the destroyed buildings was the Meyer Brothers department store, which closed in 1987 and since had been parceled out.

The Great Falls of the Passaic River in Paterson, which are the second-highest large-volume falls on the East Coast of the United States.

This morning, we note the birth date of William Carlos Williams (September 17, 1883 – March 4, 1963), Puerto Rican-American poet closely associated with modernism and imagism. In addition to his writing, Williams had a long career as a physician practicing both pediatrics and general medicine.

In addition to poetry (his main literary focus), he occasionally wrote short stories, plays, novels, essays, and translations. He practiced medicine by day and wrote at night.

Williams published his first book, Poems, in 1909. His second book of poems, The Tempers, was published by a London press through the help of his friend Ezra Pound, whom he had met while studying at the University of Pennsylvania.

Early in his career, Williams briefly became involved in the Imagist movement through his friendships with Pound and H.D. In 1915, moving from Imagism, Williams began to associate with the New York group of artists and writers known as "The Others." Founded by the poet Alfred Kreymborg and the artist Man Ray, they included Walter Conrad Arensberg, Wallace Stevens, Mina Loy, Marianne Moore and Marcel Duchamp.

In 1922, Williams published one of his seminal books of poetry, Spring and All, which contained the classic poems "By the Road to the Contagious Hospital", "The Red Wheelbarrow" and "To Elsie".

Williams sought to invent an entirely fresh and uniquely American form of poetry whose subject matter centered on everyday circumstances of life and the lives of common people. He came up with the concept of the "variable foot" which Williams never clearly defined, although the concept vaguely referred to Williams's method of determining line breaks.

In his modernist epic collage of place entitled Paterson (published between 1946 and 1958), an account of the history, people, and essence of Paterson, New Jersey, Williams wrote his own modern epic poem, focusing on "the local" on a wider scale than he had previously attempted. He also examined the role of the poet in American society and famously summarized his poetic method in the phrase "No ideas but in things”.

In his later years, Williams had a significant influence on many of the American literary movements of the 1950s, including the Beat movement, the San Francisco Renaissance, the Black Mountain school, and the New York School. One of Williams's most dynamic relationships as a mentor was with fellow New Jersey poet Allen Ginsberg.

Williams's major collections are Spring and All (1923), The Desert Music and Other Poems (1954), Pictures from Brueghel and Other Poems (1962), and Paterson (1963, repr. 1992).

In 1950, Williams won the first National Book Award for Poetry, recognizing both the third volume of Paterson and Selected Poems. In May 1963, he was posthumously awarded the Pulitzer Prize for Pictures from Brueghel and Other Poems (1962) and the Gold Medal for Poetry of the National Institute of Arts and Letters.

Williams died on March 4, 1963, at the age of 79 at his home in Rutherford. He was buried in Hillside Cemetery in Lyndhurst, New Jersey.

If you have the time, click on the following link to see a documentary on the life of William Carlos Williams

https://youtu.be/Du1DJli1_jY?si=l_hPgswD0tfE9Dgr

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Quotes and Poems by William Carlos Williams

“First we have to see. Or first we have to be taught to see. We have to be taught to see here, because here is everywhere, related to everywhere else, and if we don't see, hear, taste, smell and feel in this place - not only will we never know anything but the world of sense will be by that much diminished everywhere.”

--William Carlos Williams

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The Red Wheelbarrow

so much depends

upon

a red wheel

barrow

glazed with rain

water

beside the white

chickens.

--William Carlos Williams

_____________________

Spring and All

[By the road to the contagious hospital]

I

By the road to the contagious hospital

under the surge of the blue

mottled clouds driven from the

northeast-a cold wind. Beyond, the

waste of broad, muddy fields

brown with dried weeds, standing and

fallen

patches of standing water

the scattering of tall trees

All along the road the reddish

purplish, forked, upstanding, twiggy

stuff of bushes and small trees

with dead, brown leaves under them

leafless vines—

Lifeless in appearance, sluggish

dazed spring approaches—

They enter the new world naked,

cold, uncertain of all

save that they enter. All about them

the cold, familiar wind—

Now the grass, tomorrow

the stiff curl of wildcarrot leaf

One by one objects are defined—

It quickens: clarity, outline of leaf

But now the stark dignity of

entrance—Still, the profound change

has come upon them: rooted, they

grip down and begin to awaken

--William Carlos Williams

_____________________

This Is Just To Say

I have eaten

the plums

that were in

the icebox

and which

you were probably

saving

for breakfast

Forgive me

they were delicious

so sweet

and so cold

--William Carlos Williams

_________________________

A Love Song

What have I to say to you

When we shall meet?

Yet—

I lie here thinking of you.

The stain of love

Is upon the world.

Yellow, yellow, yellow,

It eats into the leaves,

Smears with saffron

The horned branches that lean

Heavily

Against a smooth purple sky.

There is no light—

Only a honey-thick stain

That drips from leaf to leaf

And limb to limb

Spoiling the colours

Of the whole world.

I am alone.

The weight of love

Has buoyed me up

Till my head

Knocks against the sky.

See me!

My hair is dripping with nectar—

Starlings carry it

On their black wings.

See, at last

My arms and my hands

Are lying idle.

How can I tell

If I shall ever love you again

As I do now?

--William Carlos Williams

_______________________

From Book I, Paterson

Paterson lies in the valley under the Passaic Falls

its spent waters forming the outline of his back. He

lies on his right side, head near the thunder

of the waters filling his dreams! Eternally asleep,

his dreams walk about the city where he persists

incognito. Butterflies settle on his stone ear.

Immortal he neither moves nor rouses and is seldom

seen, though he breathes and the subtleties of his machinations

drawing their substance from the noise of the pouring river

animate a thousand automations. Who because they

neither know their sources nor the sills of their

disappointments walk outside their bodies aimlessly

for the most part,

locked and forgot in their desires-unroused.

—Say it, no ideas but in things—

nothing but the blank faces of the houses

and cylindrical trees

bent, forked by preconception and accident—

split, furrowed, creased, mottled, stained—

secret—into the body of the light!

From above, higher than the spires, higher

even than the office towers, from oozy fields

abandoned to gray beds of dead grass,

black sumac, withered weed-stalks,

mud and thickets cluttered with dead leaves-

the river comes pouring in above the city

and crashes from the edge of the gorge

in a recoil of spray and rainbow mists-

(What common language to unravel?

. . .combed into straight lines

from that rafter of a rock's

lip.)

A man like a city and a woman like a flower—

who are in love. Two women. Three women.

Innumerable women, each like a flower.

But

only one man—like a city.

--William Carlos Williams

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Young Sycamore

I must tell you

this young tree

whose round and firm trunk

between the wet

pavement and the gutter

(where water

is trickling) rises

bodily

into the air with

one undulant

thrust half its height-

and then

dividing and waning

sending out

young branches on

all sides-

hung with cocoons

it thin

still nothing is left of it

but two

eccentric knotted

twigs

bending forward

hornlike at the top

--William Carlos Williams

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Dawn

Ecstatic bird songs pound

the hollow vastness of the sky

with metallic clinkings--

beating color up into it

at a far edge,--beating it, beating it

with rising, triumphant ardor,--

stirring it into warmth,

quickening in it a spreading change,--

bursting wildly against it as

dividing the horizon, a heavy sun

lifts himself--is lifted--

bit by bit above the edge

of things,--runs free at last

out into the open--! lumbering

glorified in full release upward--

songs cease.

--William Carlos Williams

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“I think these days when there is so little to believe in——when the old loyalties——God, country, and the hope of Heaven——aren't very real, we are more dependent than we should be on our friends. The only thing left to believe in——someone who seems beautiful.”

― William Carlos Williams, Selected Essays

[All poems from The Collected Poems of William Carlos Williams, Vol. 1: 1909-1939; The Collected Poems of William Carlos Williams, Vol. 2: 1939-1962, New Directions (1991)]

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