2017年2月25日 星期六

【漢清講堂】 2017.3.18 :紀念賴顯邦(明目);談:侯坤宏編著《浩劫與重生,一九四九年以來的大陸佛教》;雕塑藝術


 【漢清講堂】 2017.3.18 心得分享與討論會
日期:2017年3月18日(周),10:00~ 13:00
地址:台北市新生南路三段88號2樓
電話:(02) 2365012主辦:漢清講堂

主題與方式:依照講師自選的主題,發表20~30分鐘之專論、座談會

講師與主題 (序)




1. *鍾漢清先生:簡談雕塑藝術:產、官、學、寺(教堂等),兼談幾位英國雕塑師

我的藝術啟蒙地點是東海大學 (1971-75)的圖書館、校園、教室。
70年代資訊不發達,所以我讀Sir Herbert Edward Read, DSO, MC ( 4 December 1893 – 12 June 1968)他的【現代繪畫】、【現代雕塑】的翻譯本時,不知道作者已經過世了。
在英國 (1977-78)的啟蒙是讀了William G. Tucker 的  The Language of Sculpture (Thames & Hudson, London 隨後在Tate 那兒看了 H. Matisse的作品), Henry Moore: John Russell (Moore在1978年夏季倫敦的戶外展,令人印象深刻。


2. 蘇錦坤談:侯坤宏編著《浩劫與重生,一九四九年以來的大陸佛教》,(2012)
  這是兩岸佛學界頗為迴避忌諱的議題,也牽涉到兩岸政權面對宗教及宗教研究的曖昧態度。


  如果時間方便,我願於今年三月在漢清講堂報告此書。

3.  林義正 〈明目顯邦〉
台大附近溫州街上
明目書社
專售大陸文史哲印度等宗教書籍
明目甚奇
寄寓人天智慧的啟蒙
台大哲學系友中的冥索行者
與各方學士交流
熱心奉獻一生
半年未謀面
聞知竟永別
顯邦何在
就在明目


hc:林老師,我考慮3月18日的聚會有段紀念賴先生的時間

2017年2月23日 星期四

2月18日(周末),【漢清講堂】:討論 G. Flaubet【情感教育】曹永洋先生的推介文;張華評梁永安譯本第一章一句

《情感教育》 梁永安、張華等 2017-02-18
《情感教育》(長篇小說),法國福樓拜著,譯者梁永安; 大陸譯本(1948李建吾譯)(1980,上海譯文 )。 評論 《情感教育》─今天讀書會的主題 。…
YOUTUBE.COM

張華評梁永安譯本第一章一句
張華:梁永安譯筆的基本特色是文字乾淨俐落,讀來沒有疙瘩。
情感教育─今天讀書會的主題
http://www.online-literature.com/g…/sentimental-education/1/
譯者梁永安,處處有佳譯:
She resembled the women of whom he had read in romances. He would have added nothing to the charms of her person, and would have taken nothing from them. 
[比較另一個英譯本:She resembled the women of whom he had read in romances. Nothing could be added to the charms of her person, and nothing could be taken from them. ]

[法文(其實我不懂,好玩而已):Elle ressemblait aux femmes des livres romantiques. Il n'aurait voulu rien ajouter, rien retrancher à sa personne.]
她像是從她閱讀過的那些浪漫小說裡走出來。這女人的魅力加一份便太多,減一分則太少。
剛在讀書會上看到一個大陸譯本(1948李建吾譯),立判高下:
她活像浪漫主義書籍裡的婦女,他什麼也不要往她身上添,什麼也不要減。



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2月18日(周末)【漢清講堂】:向金恆鑣老師請教環保;討論 G. Flaubet【情感教育】;紀念John Berger (1926-2017) 等



~~~


李健吾1906-82 譯本 上海譯文,1984 (據法文本,原1948出版。新譯序) ,簡稱"李本"/ :2016年有北岳文譯版
此書上頭有曹永洋先生的推介文,約2016年9月。
梁永安 譯本 台北:野人,2013/2017 (英文本) , 梁先生2014年送我與張華先生......


參考資料:

HC:
Sentimental Education 情感教育
https://en.wikipedia.org/wiki/Sentimental_Education


18日的討論會 會前或可考慮將此段漢譯sentimental education
建議由張、繆合作報告

sentimental education

  • 8 years ago
  • 1,622 views
BULLSHIT.


*這段這麼短 一分鐘就講完了




李健吾1906-82 譯本 上海譯文,1984 (據法文本,原1948出版。新譯序) ,簡稱"李本"/ :2016年有北岳文譯版
此書上頭有曹永洋先生的推介文,約2016年9月。
梁永安 譯本 台北:野人,2013/2017 (英文本) , 梁先生2014年送我與張華先生......

留言


~~~~~

此書的Introduction (By LOUISE BOGAN)值得一讀。

Sentimental Education - Page ii - Google Books Result



【包法利夫人】或是【水滸之潘金蓮】 兼論#【包法利】作者福樓拜
年前與太太去看金馬獎最佳導演馮小剛的【我不是潘金蓮】大陸人把英文片名翻譯為○【我不是包法利夫人】有文化.
關於包法利夫人,我寫過一篇長文章.「世界短篇小說之王」莫泊桑要稱呼福樓拜舅舅,其實並非真有血緣關係,莫泊桑的親舅舅很早就英年早逝,這位舅舅卻是福樓拜少年的總角之交,他在少年莫泊桑身上看到故人身影,加上莫泊桑初出茅廬就頭角崢嶸, 一八八0年以短篇小說【脂肪球】一炮而紅,念舊與惜才之心讓福樓拜因此傾全力提拔。
法國十九世紀的兩代文豪的遠親關係讓人好奇,在諾曼地盧昂這個地區,如此地靈人傑何以竟孕育出這兩枝健筆?!
其實舅甥二人都是盧昂的「市民階級」,「乾舅舅」福樓拜出身於父親是醫師(諾曼地區盧昂當地醫院院長)、母親則是出身法官家庭,是法曹的掌上明珠,可以想見福樓拜受了很好的教育。另一方面「乾外甥」莫泊桑的母親出身絲綢工廠的富有商家,與晚輩比福樓拜則可算是「仕紳世家」,地位更高,因此福樓拜非常擅長描寫中產收入的市民階級。
傳世之作【包法利夫人】其實就是描寫市民家庭難耐寂寞的少婦艾瑪包法利,如何一步步因為愛慕虛榮且紅杏出牆,終究被迫服毒自殺。而藉著一則貌似通俗劇的女性紅杏出牆的故事,福樓拜其實是不動聲色在「深描」法國地方的中上階級家庭深刻苦悶(休閒娛樂不足、無信仰)日常生活。本書書名雖為「包法利夫人」,但是第一章破題寫包法利先生在小學時候的遭遇,最後一章也在寫包法利先生,以男主人開始,以男主人結束,中間還描述了十九世紀落後的醫療技術如何草菅人命,隨便動手術刀,讓較低下的男僕原本只是跛腳變成要命的殘廢,故事在淡淡的敘述中讓人怵目驚心。
福樓拜生也早,否則諾貝爾文學獎應該少不了這位文體大師,懂法文者早已競爭相傳誦說這本小說的文體如何優美,可以為法文的範本,而據傳福樓拜為了琢磨文體和小說的故事情節,相傳不斷擅改重寫,「寫就一小段,拈斷三根鬚」。他另外一部代表作【聖安東尼的誘惑】在1874年發表時候也是苦心孤詣,三易其稿;還有一部寫於兩部長篇傑作【包法利夫人】與【情感教育】中間的【薩倫波】,又是一個奇特的傑作,其工筆溽麗如日本二十世紀初文豪芥川龍之介的【地獄變】,恐怖又艷麗:福樓拜傾全力蒐集取材自羅馬地下墳場的故事,故事內容涉及戰爭、殘暴虐待、原始宗教的資料等等,是集人性、政治、民俗等豐富材料的又一部歷史小說的大成。

2017年2月22日 星期三

【漢清講堂】2017年2月18日:紀念John Berger (1926-2017) ;【情感教育】座談會



17h

【漢清講堂】2017年2月下旬某日    心得分享與討論會


日期:2017年2月18日(周),10:00~ 13:00
地址:台北市新生南路三段88號2樓
電話:(02) 2365012主辦:漢清講堂

主題與方式:依照講師自選的主題,發表20~30分鐘之專論,11點有座談會


講師與主題 (依報名先後序)

1. 鍾漢清   紀念John Berger (1926-2017) 

2.0 梁永安主持  


2月份漢清講堂討論【情感教育】
說明:約半年前,曹永洋老師拿本李健吾翻譯的【情感教育】(1984,上海譯文,【李健吾之譯者序與譯註甚佳】),說要交換看永安的譯本---我忘掉有無交換。
曹老師聽說郭松棻會背李健吾翻譯的【包法利夫人】,特別注意。
所以2月份漢清講堂要請梁永安來主持討論【情感教育】,請定日期,請多參與!


2.2 鍾漢清
我將2張最重要的圖給您們參考:出自
【情感教育】的一種閱讀
Pierre Bourdieu 皮埃爾 布爾迪克
藝術的法則 文學場的生成與結構 pp.1-48
序言:作為福婁拜的分析家的福樓拜


http://hcbooks.blogspot.tw/....../pierre-bourdieu......

2.3 張華
2.4  繆詠華:......《情感教育》正是我現時的枕邊讀物,每天都稍微看一下腓德烈克有多「毀滅」「絕望」。
多謝校長安排,多謝梁教授無私分享。我一定要參加!


john berger
John Berger (1926-2017)

John Berger
(Photograph by Jean Mohr)

1973, Fellow of The Transnational Institute (TNI) 
Another Way of Telling  
John Berger, Jean Mohr
Another Way of Telling
A Possible Theory of Photography
By: John Berger, Jean Mohr
1982
- See more at: http://www.bloomsbury.com/uk/another-way-of-telling-9781408864463/#sthash.rc8ef8TB.dpuf

“A wonderful artist and thinker” –  Susan Sontag
This unique combination of words and pictures includes 230 photographs by Jean Mohr. 

It moves beyond the landmarks established by Walter Benjamin, Roland Barthes and Susan Sontag 
In one of the most eloquent accounts of photography ever devised (originally published in 1982 and unavailable for many years), the writer John Berger and the photographer Jean Mohr set out to understand the fundamental nature of photography and how it makes its impact. 

Asking a range of questions – What is a photograph? What do photographs mean? How can they be used? – they give their answers in terms of a photograph as 'a meeting place where the interests of the photographer, the photographed, the viewer and those who are using the photography are often contradictory'. From these beginnings they develop a theory of photography that has at its centre the form's essential ambiguity, arguing that photography is totally unlike a film and has nothing to do with reportage. Rather, it constitutes 'another way of telling'.

 - See more at: http://www.bloomsbury.com/uk/another-way-of-telling-9781408864463/#sthash.rc8ef8TB.dpuf

山區農民之生活與工作;照相之經驗與理論 
5部曲
“There are no photographs which can be denied. All photographs have the status of fact. What is to be examined is in what way photography can and cannot give meaning to facts.” With these words, two of our most thoughtful and eloquent interrogators of the visual offer a singular meditation on the ambiguities of what is seemingly our straightforward art form. As constructed by John Berger and the renowned Swiss photographer Jean Mohr, that theory includes images as well as words; not only analysis, but anecdote and memoir. Another Way of Telling explores the tension between the photographer and the photographed, between the picture and its viewers, between the filmed moment and the memories that it so resembles. Combining the moral vision of the critic and the practical engagement of the photographer, Berger and Moher have produced a work that expands the frontiers of criticism first charged by Walter Benjamin, Roland Barthes, and Susan Sontag.


Review
"Extraordinary... remarkable... suggestive/and/original." -- Edward Said, The Nation.

"One of the world's most influential art, critics ... Berger sees clearly with fresh surprise yet profound understanding." -- The Washington Times
From the Back Cover
'There are no photographs which can be denied. All photographs have the status of fact. what is to be examined is in what way photography can and cannot give meaning to facts.'


"一個人的人生從他死去的那一刻變成故事。"
A. S. Byatt 在《論歷史與故事》說, Walter Benjamin的 《The Storyteller》中說,"一個人的人生從他死去的那一刻變成故事。"      說故事的人,都是逝者的秘書。接過亡魂的字條,以故事向世人轉達。

John Berger, art critic and author, dies aged 90
The  real meaning of art  is dangerously emancipating.
A Smuggling Operation: John Berger’s Theory of Art
By Robert Minto


郭力昕:約翰.伯格,說故事的人
鼓舞身處困頓中的人們,「在這個沒有盡頭的無光所在,求存與抵抗,分享着同一支燭光。」

英國Complicité劇團創辦人Simon McBurney 談 John Berger
傾聽者,影像鑽研者,詩人,畫家,觀看者*。我的導師。哲學家。朋友。約翰.伯格今晨離開了我們。而今,你已無所不在。
Listener, grinder of lenses, poet, painter, seer. My Guide. Philosopher. Friend. John Berger left us this morning. Now you are everywhere.
*seer: a person of supposed supernatural insight who sees visions of the future.

Cher, a department in the Centre-Val de Loire region of France.
Quincy is an Appellation d'origine contrôlée (AOC)

Why we still need John Berger’s Ways of Seeing

Detail from The Judgement of Paris, Lucas Cranach the Elder, 1530. Victoria's Secret branding image, 2012
he helped to kickstart a quiet revolution in the way we view the world around us. He encouraged us to question the images which have been the foundation of our culture. That is a truly worthy legacy – and one we must continue.

The Seasons in Quincy: Four Portraits of John Berger, 2016
https://vimeo.com/148352867
This is "TRAILER - The Seasons in Quincy: Four Portraits of John Berger" by Bartek Dziadosz on Vimeo,

Landscapes: John Berger on Art
By John Berger

Tom Overton and Verso, 2016

If art ... why does its power to move us endure long after the base has been transformed?
 Why, asked Marx, do we still look towards Greek art as an ideal? 
If art in the last analysis is a superstructure of an economic base,

 Berger’s documentary, Ways of Seeing.
Walter Benjamin wrote the essay “Art in the Age of Mechanical Reproduction” 

Max Raphael ( 1889 – 1952), German-American art historian. ..Fellowships awarded by the Bollingen Foundation
Zur Erkenntnistheorie der konkreten Dialektik, 1934, French translation
Prehistoric Cave Paintings, New York, Pantheon, 1945, Bollingen Series, no. 4.
Prehistoric Pottery and Civilization in Egypt, New York, Pantheon, 1947, Bollingen Series, no. 8.
The Demands of Art, Princeton University Press, 1968 (posthumous), Bollingen Series, no. 78.



“The function of the work of art is is to lead us from the work to the process of creation which it contains.”
he asks us to imagine the artist at work
the artist turns raw material into artistic material by shaping it to represent an idea or an object; the artist turns his perception into something external and objective, a representation

For Berger, art criticism is a revolutionary practice. 
It prepares the ground for a new society.
How to begin? Berger answers: In art. There we find proof and prophecy of a different world.
by Berger and Anya Rostock of a poem by Bertolt Brecht. It includes this passage:
Yet how to begin? How to show
The living together of men
That it may be understood
And become a world that can be mastered?
How to reveal not only yourselves and others
Floundering in the net
But also make clear how the net of fate
Is knotted and cast,
Cast and knotted by men?
[…] only he who knows that the fate of man is man
Can see his fellow men keenly with accuracy.


art is valuable ...bodies forth the vision of an artist...vs.  art is property
the art world has hosted a titanic battle

art is valuable because it bodies forth the vision of an artist; it is a good in itself just to the degree that it succeeds at this task

Painting is especially well suited to developing our historical and evolutionary self-consciousness.