真是慚愧，當年鴻海還是小老弟。......
兄弟們，或許我們比較幸福！
AMP1987那年的那些事
感謝David在臉書上找到我
把散落各地當年的創廠菁英
聚在一起回味當年的二三事
以及台灣各行各業的興衰史
回味那一段竹科披星戴月的日子
以及每天高速公路奔馳上的快感
把散落各地當年的創廠菁英
聚在一起回味當年的二三事
以及台灣各行各業的興衰史
回味那一段竹科披星戴月的日子
以及每天高速公路奔馳上的快感
2019年4月21日 星期日
漢清講堂4月11日 ：李瑞鈺 建築師：大羅孚計畫金字塔完成30年紀念 2019.5.30 ：I. M. Pei (貝聿銘) 102歲；
朋友，歡迎您們參加 漢清講堂
日期: 2019年4月11日 周四 十點 到十三點
地點: 台北新生南路三段八八號二樓 Tel 23650127
主題: I. 張旺山教授「狄爾泰」（Wilhelm Dilthey, 1833-1911）10~11點
II羅時瑋教授、李瑞鈺*建築師座談： I. M. Pei (貝聿銘) 與大羅孚計畫金字塔完成30年紀念
*李瑞鈺建築師/中原建築學士、華盛頓大學（聖路易）建築碩士
26:27158 I. M. Pei (貝聿銘) and Islamic Art Museum 2017-05-19 H.C. Chung
https://www.youtube.com/watch?v=dX3qJPHycXA&t=72s
-----
275 漫談貝聿銘的羅浮宮增建 2019-04-11 李瑞鈺 建築師
https://www.youtube.com/watch?v=fU9DmiITsPU
🔺The Pyramid is 30 years old. Discover its history in pictures with Paris Match!
📸In the gardens of the Carrousel, the Louvre Museum presents an exhibition in free access that retraces the great adventure of the Pyramid in 30 photos. Through the photographs of Paris Match, it is men and women, personalities, anonymous people, unpublished anecdotes that stand out from one picture to another to tell this dream that History has made come true.
🧐This exhibition is a tribute in im⋯⋯
更多
大羅孚計畫金字塔完成30年紀念 2019.5.30 ：I. M. Pei (貝聿銘) 102歲；I.M. Pei: Mandarin of Modernism 《貝聿銘－現代主義泰斗》
我在籌劃一討論會：大羅孚計畫金字塔完成30年紀念2019.5.30 ：I. M. Pei (貝聿銘) 102歲
約四月初，漢清講堂有一天/幾場的座談/presentations--敬邀您們參加。
約四月初，漢清講堂有一天/幾場的座談/presentations--敬邀您們參加。
https://fr.wikipedia.org/wiki/Pyramide_du_Louvre
❄ Snow fell silently on the Louvre this morning! The cour Napoléon, the roof of the Islamic Arts department, and the arc du Carrousel are wearing a pretty white coat...
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French artist JR surrounds Louvre Pyramid with giant collage
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Pierre Rosenberg《盧浮宮私人詞典．金字塔之爭》2014，華東師範大學出版社，526~28
----
貝聿銘-現代主義泰斗(I. M. Pei- Mandarin of Modernism )-
麥可．坎奈爾著
蕭美惠譯
智庫股份有限公司出版日期:1996/02
《貝聿銘－現代主義泰斗》
貝聿銘
貝聿銘所到之處都引人注意。儘管它長袖善舞、八面玲瓏，與企業大老闆、藝術家和國家元首交情匪淺，私底下的貝聿銘仍是難以捉摸的。恍如童年時代四面高牆的祖宅，它的內心世界不是西方人所能了解的；；即使是他以前的合夥人也表示不曾真正跟他親近過。解開這謎團的線索就在上海複雜的社會階級，甚至在古老庭園的石頭和潺潺流水之間。
這是一本有關建築物和權力、移民和同化、美式奔放和中式收斂、實用主義和華麗報導、東方和西方的傳記。書中附有珍貴照片幾十幀，均為貝聿銘和世界名人合照及其代表性建築作品：如中國香山飯店、香港中銀大廈、甘迺迪紀念圖書館、美國國家藝廊東廂、巴黎羅浮宮金字塔等膾炙人口的經典之作。
作者簡介
麥可．坎奈爾
畢業於普林斯敦大學和哥倫比亞大學新聞學院，曾供稿紐約客、時代、新聞週刊、紐約時報雜誌、運動畫報和國際合眾社。目前與妻子住在紐約。
譯者簡介
蕭美惠
國立政治大學西洋語文學系畢業，現任報社國際祖召集人。
目錄
貝聿銘－現代主義泰斗－目錄
一位最傑出的同學----貝聿銘 王大閎
前言
第一章 金字塔之夜
第二章 上海與蘇州
第三章 一名劍橋的中國留學生
第四章 我們將改變這一切
第五章 未能實現的諾言
第六章 甘迺迪的祝福
第七章 成立建築師事務所
第八章 柯普利廣場上的窗戶
第九章 美國最敏感的地帶
第十章 不朽的建築
第十一章 辯護
第十二章 回歸中國
第十三章 壞風水
第十四章 尾聲----
Commissioned by François Mitterrand in 1983, the pyramid was designed by Chinese-American architect IM Pei. The metal structure that supports the glass cladding is made of steel and aluminum and weighs 200 tons; it is 21.64 meters on a square base of 35.42 meters. It is covered with 603 diamonds and 70 glass triangles and is the first large building to use laminated glass.
Although the pyramid has aroused great controversy at the presentation of his project in 1984, it became the beginning of the twenty-first century the third work of the Louvre's most popular after the Mona Lisa and the Venus de Milo2.
Summary
1 Background
1.1 An idea from the 19th century
1.2 Conduct of the proposal
1.3 Construction
2 Controversies
3 Architecture
3.1 The Louvre Pyramid
3.2 The inverted pyramid
3.3 The prowess of transparency
4 Popular culture
4.1 The Louvre meridian
5 Projects and renovation works
5.1 New lighting
5.2 Project "Pyramid"
6 Notes and references
7 See also
7.1 Bibliography
7.2 Related article
7.3 External links
Context
On September 24, 1981, the President of the Republic François Mitterrand announced at a press conference his intention to install the Louvre Museum in the entire palace, a part then being occupied by the Ministry of Finance. The goal of Mitterrand is to make the Louvre a "mass museum", to initiate a museum revolution 3. In October 1982, Émile Biasini is named responsible for the Grand Louvre project which is part of the Grands Travaux (Big Operations). Architecture and Urbanism) whose idea was launched on July 27, 1981. Without resorting to the procedure of the architectural competition or the call for tenders, François Mitterrand chose the architect Ieoh Ming Pei who accepted the commissioned in June 1983 and proposed a plan to use the Napoleon courtyard as a new central entrance (a central lobby was a long-needed improvement to facilitate public access through the front door of the building). Denon wing, insufficient entry for such a project), which would give access not only to the existing rooms, but also to the spaces liberated from the Richelieu wing4.
An idea from the nineteenth century
A pyramid in the Napoleon courtyard was initially proposed for the celebrations of the French Revolution, especially for the centenary (cyclopean pyramid project of the architect Louis Ernest Lheureux of neo-Aztec style, for 18895). We also find this idea in a small booklet "Memoirs on two great obligations to be filled by the French" written by Bernard François Balzac and published in 1809. One of these obligations was to raise, in the courtyard of the Louvre, a pyramid that would be a national monument of recognition to the Emperor (Napoleon). It is possible that the architect Ieoh Ming Pei was made aware of this proposal when he chose the shape of a pyramid.
Conduct of the proposal
In the first project presented to François Mitterrand by Ieoh Ming Pei on June 21, 1983, the pyramid is integrated into his final project in 1984: the goal is to build a large, bright entrance hall with a shape that contrasts with the surrounding buildings7.
Marcel Herfray, the government commissioner and head of the central administration, is the legal director of the operation.
An idea from the nineteenth century
A pyramid in the Napoleon courtyard was initially proposed for the celebrations of the French Revolution, especially for the centenary (cyclopean pyramid project of the architect Louis Ernest Lheureux of neo-Aztec style, for 18895). We also find this idea in a small booklet "Memoirs on two great obligations to be filled by the French" written by Bernard François Balzac and published in 1809. One of these obligations was to raise, in the courtyard of the Louvre, a pyramid that would be a national monument of recognition to the Emperor (Napoleon). It is possible that the architect Ieoh Ming Pei was made aware of this proposal when he chose the shape of a pyramid.
Conduct of the proposal
In the first project presented to François Mitterrand by Ieoh Ming Pei on June 21, 1983, the pyramid is integrated into his final project in 1984: the goal is to build a large, bright entrance hall with a shape that contrasts with the surrounding buildings7.
Marcel Herfray, the government commissioner and head of the central administration, is the legal director of the operation.
Construction
The pyramid in 1987
The pyramid of the Louvre was built between 1985 and 1989. It was first inaugurated on March 4, 19881 by François Miterrand, then a second time on March 29, 1989: on the occasion of the opening to the public, a more modest ceremony , with ribbon cut, was held in the presence of the President 8.
controversies
Comparison of approximate profiles of notable monuments of pyramidal or almost pyramidal shape.
The official announcement of the project took place at the hearing of Mr. Pei January 23, 1984 before the National Commission of Historic Monuments, which he is disconcerted in front of the perplexity of the members of the Commission. The project is made public the next day in a headline of France-Soir titrant: "The new Louvre is already scandal". Published on the front page of the daily, the photo of the pyramid is controversial. Much of the press is also hateful: "Zero degree of architecture" according to Pierre Vaisse du Figaro, "Call for insurrection" for Jean Dutourd9,10. Opponents of the project, such as the art historian André Fermigier (who personally nicknamed the project "The zircon") then compare the pyramid to a "House of the dead" to a "funnel", evoking alternately this object everything
Architecture
Night view on the big pyramid and the little one, on the left.
The Louvre pyramid
The pyramid is not placed on the historical axis of Paris. But the "Great Pyramid" is not alone: it is indeed surrounded by three smaller replicas constituting skylights and a fifth pyramid, inverted, built under the Carrousel du Louvre.
It consists of a 95-tonne steel structure and a 105-tonne aluminum chassis. Its structure is composed of a mesh of 2,100 nodes, 6,000 bars, 603 diamonds22 and 70 triangles of glass whose glazing has a thickness of 21 mm. In reality, there are few real diamonds, most of the pieces are parallelograms that are almost diamonds and which, in perspective, give the impression of being lozenges23. Its surface at the base is 1,254 m2, the width of its square of 35,42 meters. It measures 21.64 meters in height while the three replicas, surrounding the main pyramid lined with triangular water basins, make only five. The fifth is seven meters high24.
The inverted pyramid
Main article: Inverted pyramid of the Louvre.
The inverted Pyramid of the Louvre is built in the same constructive logic but with only 7 triangles at the base of each face. It consists of 84 diamonds and 28 triangles.
This reversed pyramid can not be directly in contact with the outside because the water would accumulate there, it is covered by a glazed surface of the same almost flat type, hidden at the level of the natural ground by the hedges in the center of the place of the Carrousel.
The prowess of transparency
The architect had the requirement that the glass that composes the facets of the construction is as transparent as possible. But at the time this represented a technical challenge that remained to be realized.
Indeed, any glass contains impurities that have the property of absorbing more light as the glazing is thicker23. The main contributors to this absorption of light are the heavy metals that are incorporated into the raw material during the melting of the glass. That's why it was very difficult to meet the requirements of the architect and deliver a glass as colorless as possible despite the 2.1 cm thick plates.
I.M.Pei rejected the idea of using techniques capable of neutralizing iron oxides including, for example, the addition of arsenic, because he knew that they solarize over time23; too exposed to the sun, they turn yellow and turn brown.
The French glassware company that won the contract opted for the supply of a type of glass that is not sensitive for this purpose.
In order to meet the challenge, the engineers of this company produced a glass-float using the technique of an electric furnace, consisting of graphite electrodes, or molybdenum23.
Popular culture
The pyramid has 673 glass panels, a number close enough to 666 to feed the esoteric interpretations. An urban legend wants this number of 666 glass panels was chosen at the "express request" of President Mitterrand, 666 being according to the Apocalypse, the "Figure of the Beast". This controversy resumed in 2003 with the release of Dan Brown's novel Da Vinci Code (Chapter 4).
With some calculations and based on a photograph of the face of the building with the entrance, it is however easy to confirm the account of 673 plates. Counting the number of plates along an edge connected to the top of the pyramid gives us 18 plates. The pyramid being regular, this number is the same for each edge and allows us to calculate the number of plates per full face: indeed, it is easily calculated according to the following {\ displaystyle u_ {n} = u_ {n- 1} + n} {\ displaystyle u_ {n} = u_ {n-1} + n}, with {\ displaystyle n} n the number of plates per edge and {\ displaystyle u_ {1} = 1} u_ {1 } = 1 (of which {\ displaystyle n} n triangular plates at the base). We obtain the result {\ displaystyle u_ {18} = 171} u _ {{18}} = 171. Multiplied by 4 faces, this gives 684 plates. To this total must be removed the missing plates due to the opening on the face that we will call "before", opening serving as entrance to the building. This opening is divisible into three horizontal rows. A first row of 4 triangles, which are not to be subtracted from the total because they are not whole plates that have been removed: simply the diamonds above the opening that have been cut, and this does not affect the number of plates (on the other hand, it changes the ratio between the number of lozenges and the number of triangles). A second row of 5 diamonds, and finally a third row, at the base, of 6 triangles. This gives us a total of 11 plates removed to form the entrance to the building. So we arrive at a total of 673 plates.
Architecture
Night view on the big pyramid and the little one, on the left.
The Louvre pyramid
The pyramid is not placed on the historical axis of Paris. But the "Great Pyramid" is not alone: it is indeed surrounded by three smaller replicas constituting skylights and a fifth pyramid, inverted, built under the Carrousel du Louvre.
It consists of a 95-tonne steel structure and a 105-tonne aluminum chassis. Its structure is composed of a mesh of 2,100 nodes, 6,000 bars, 603 diamonds22 and 70 triangles of glass whose glazing has a thickness of 21 mm. In reality, there are few real diamonds, most of the pieces are parallelograms that are almost diamonds and which, in perspective, give the impression of being lozenges23. Its surface at the base is 1,254 m2, the width of its square of 35,42 meters. It measures 21.64 meters in height while the three replicas, surrounding the main pyramid lined with triangular water basins, make only five. The fifth is seven meters high24.
The inverted pyramid
Main article: Inverted pyramid of the Louvre.
The inverted Pyramid of the Louvre is built in the same constructive logic but with only 7 triangles at the base of each face. It consists of 84 diamonds and 28 triangles.
This reversed pyramid can not be directly in contact with the outside because the water would accumulate there, it is covered by a glazed surface of the same almost flat type, hidden at the level of the natural ground by the hedges in the center of the place of the Carrousel.
The prowess of transparency
The architect had the requirement that the glass that composes the facets of the construction is as transparent as possible. But at the time this represented a technical challenge that remained to be realized.
Indeed, any glass contains impurities that have the property of absorbing more light as the glazing is thicker23. The main contributors to this absorption of light are the heavy metals that are incorporated into the raw material during the melting of the glass. That's why it was very difficult to meet the requirements of the architect and deliver a glass as colorless as possible despite the 2.1 cm thick plates.
I.M.Pei rejected the idea of using techniques capable of neutralizing iron oxides including, for example, the addition of arsenic, because he knew that they solarize over time23; too exposed to the sun, they turn yellow and turn brown.
The French glassware company that won the contract opted for the supply of a type of glass that is not sensitive for this purpose.
In order to meet the challenge, the engineers of this company produced a glass-float using the technique of an electric furnace, consisting of graphite electrodes, or molybdenum23.
Popular culture
The pyramid has 673 glass panels, a number close enough to 666 to feed the esoteric interpretations. An urban legend wants this number of 666 glass panels was chosen at the "express request" of President Mitterrand, 666 being according to the Apocalypse, the "Figure of the Beast". This controversy resumed in 2003 with the release of Dan Brown's novel Da Vinci Code (Chapter 4).
With some calculations and based on a photograph of the face of the building with the entrance, it is however easy to confirm the account of 673 plates. Counting the number of plates along an edge connected to the top of the pyramid gives us 18 plates. The pyramid being regular, this number is the same for each edge and allows us to calculate the number of plates per full face: indeed, it is easily calculated according to the following {\ displaystyle u_ {n} = u_ {n- 1} + n} {\ displaystyle u_ {n} = u_ {n-1} + n}, with {\ displaystyle n} n the number of plates per edge and {\ displaystyle u_ {1} = 1} u_ {1 } = 1 (of which {\ displaystyle n} n triangular plates at the base). We obtain the result {\ displaystyle u_ {18} = 171} u _ {{18}} = 171. Multiplied by 4 faces, this gives 684 plates. To this total must be removed the missing plates due to the opening on the face that we will call "before", opening serving as entrance to the building. This opening is divisible into three horizontal rows. A first row of 4 triangles, which are not to be subtracted from the total because they are not whole plates that have been removed: simply the diamonds above the opening that have been cut, and this does not affect the number of plates (on the other hand, it changes the ratio between the number of lozenges and the number of triangles). A second row of 5 diamonds, and finally a third row, at the base, of 6 triangles. This gives us a total of 11 plates removed to form the entrance to the building. So we arrive at a total of 673 plates.
Architecture
Night view on the big pyramid and the little one, on the left.
The Louvre pyramid
The pyramid is not placed on the historical axis of Paris. But the "Great Pyramid" is not alone: it is indeed surrounded by three smaller replicas constituting skylights and a fifth pyramid, inverted, built under the Carrousel du Louvre.
It consists of a 95-tonne steel structure and a 105-tonne aluminum chassis. Its structure is composed of a mesh of 2,100 nodes, 6,000 bars, 603 diamonds22 and 70 triangles of glass whose glazing has a thickness of 21 mm. In reality, there are few real diamonds, most of the pieces are parallelograms that are almost diamonds and which, in perspective, give the impression of being lozenges23. Its surface at the base is 1,254 m2, the width of its square of 35,42 meters. It measures 21.64 meters in height while the three replicas, surrounding the main pyramid lined with triangular water basins, make only five. The fifth is seven meters high24.
The inverted pyramid
Main article: Inverted pyramid of the Louvre.
The inverted Pyramid of the Louvre is built in the same constructive logic but with only 7 triangles at the base of each face. It consists of 84 diamonds and 28 triangles.
This reversed pyramid can not be directly in contact with the outside because the water would accumulate there, it is covered by a glazed surface of the same almost flat type, hidden at the level of the natural ground by the hedges in the center of the place of the Carrousel.
The prowess of transparency
The architect had the requirement that the glass that composes the facets of the construction is as transparent as possible. But at the time this represented a technical challenge that remained to be realized.
Indeed, any glass contains impurities that have the property of absorbing more light as the glazing is thicker23. The main contributors to this absorption of light are the heavy metals that are incorporated into the raw material during the melting of the glass. That's why it was very difficult to meet the requirements of the architect and deliver a glass as colorless as possible despite the 2.1 cm thick plates.
I.M.Pei rejected the idea of using techniques capable of neutralizing iron oxides including, for example, the addition of arsenic, because he knew that they solarize over time23; too exposed to the sun, they turn yellow and turn brown.
The French glassware company that won the contract opted for the supply of a type of glass that is not sensitive for this purpose.
In order to meet the challenge, the engineers of this company produced a glass-float using the technique of an electric furnace, consisting of graphite electrodes, or molybdenum23.
Popular culture
The pyramid has 673 glass panels, a number close enough to 666 to feed the esoteric interpretations. An urban legend wants this number of 666 glass panels was chosen at the "express request" of President Mitterrand, 666 being according to the Apocalypse, the "Figure of the Beast". This controversy resumed in 2003 with the release of Dan Brown's novel Da Vinci Code (Chapter 4).
With some calculations and based on a photograph of the face of the building with the entrance, it is however easy to confirm the account of 673 plates. Counting the number of plates along an edge connected to the top of the pyramid gives us 18 plates. The pyramid being regular, this number is the same for each edge and allows us to calculate the number of plates per full face: indeed, it is easily calculated according to the following {\ displaystyle u_ {n} = u_ {n- 1} + n} {\ displaystyle u_ {n} = u_ {n-1} + n}, with {\ displaystyle n} n the number of plates per edge and {\ displaystyle u_ {1} = 1} u_ {1 } = 1 (of which {\ displaystyle n} n triangular plates at the base). We obtain the result {\ displaystyle u_ {18} = 171} u _ {{18}} = 171. Multiplied by 4 faces, this gives 684 plates. To this total must be removed the missing plates due to the opening on the face that we will call "before", opening serving as entrance to the building. This opening is divisible into three horizontal rows. A first row of 4 triangles, which are not to be subtracted from the total because they are not whole plates that have been removed: simply the diamonds above the opening that have been cut, and this does not affect the number of plates (on the other hand, it changes the ratio between the number of lozenges and the number of triangles). A second row of 5 diamonds, and finally a third row, at the base, of 6 triangles. This gives us a total of 11 plates removed to form the entrance to the building. So we arrive at a total of 673 plates.
----
回顧2012年的
A look inside the new 100m euro (£80m) wing, with its 'floating carpet' roof
A look inside the new 100m euro (£80m) wing, with its 'floating carpet' roof
2019年4月20日 星期六
李敏勇 《國家之夢 文化之愛：一個詩人的台灣守望》
國家之夢，文化之愛：一個詩人的台灣守望
作者：李敏勇
出版社：允晨文化
出版日：2019/4/1
作者：李敏勇
出版社：允晨文化
出版日：2019/4/1
《國家的夢，文化之愛》繼《文化窗景與歷史鏡像》，《尋覓家國願景》，《文明之光，國家之影》，《台灣，自由之路》，《邁向重建時代》，是我一系列自一九九九年「一個詩人的台灣守望」二○一七年到二○一八年的新結集。我自一九九年五月起，在自由時報「鏗鏘集」，每週一篇的專欄篇章，以「文明批評」自我期許，是對政治、經濟、文化的廣泛視野，秉持世界畢竟朝向更文明的社會發展，以文化之眼進行的觀照，更及台灣與世界。
我的國家之夢是交織著文化之愛的。在詩與文學志業持續不輟追尋的我，之所以從一九八○年代末開始介入時論推進，是因為深信文化才是國家的底[蘊，所謂想像共同體的國族論立基於文化構造，徒有經濟貌，沒有文化，政治體質無法選擇的競奪力提升。
生活在台灣的人們應該有新國家的共同想像，這就是共同的國家之夢。台灣的國家之夢要有文化之愛，以文化的優質性和經濟的福祉化和豐富，提升政治民主化。台灣是一個原本有原住民在田野奔跑，從唐山來台，跨越黑水溝的福台語族，福客語族共同耕耘，西班牙人荷蘭人區域殖民，明鄭短期王朝，清帝國治理，割讓給日本殖民五十年，二戰後國民黨中國代表執政，進佔統治，在民主化後台灣轉型追尋正常化的國家。原住民文化，古中國文化，日本文化和近代中國文化是台灣文化的成分，台灣的新國家，應該是化傷痕為勳章的生活在這個國度人們的國家之夢。
我的國家之夢是交織著文化之愛的。在詩與文學志業持續不輟追尋的我，之所以從一九八○年代末開始介入時論推進，是因為深信文化才是國家的底[蘊，所謂想像共同體的國族論立基於文化構造，徒有經濟貌，沒有文化，政治體質無法選擇的競奪力提升。
生活在台灣的人們應該有新國家的共同想像，這就是共同的國家之夢。台灣的國家之夢要有文化之愛，以文化的優質性和經濟的福祉化和豐富，提升政治民主化。台灣是一個原本有原住民在田野奔跑，從唐山來台，跨越黑水溝的福台語族，福客語族共同耕耘，西班牙人荷蘭人區域殖民，明鄭短期王朝，清帝國治理，割讓給日本殖民五十年，二戰後國民黨中國代表執政，進佔統治，在民主化後台灣轉型追尋正常化的國家。原住民文化，古中國文化，日本文化和近代中國文化是台灣文化的成分，台灣的新國家，應該是化傷痕為勳章的生活在這個國度人們的國家之夢。
目錄
序
共同的夢，共同的愛
一、國家之夢，文化之愛
新國家願景
軍公教現象
畫蛇添足，歹戲拖棚
國家一體，南北一體
公路主義
鐵道主義
種樹的日子
天猶未光
那一年，死滅的春天
大學失道
看看韓國，想想台灣
地域活化交通視野
回歸之路，分離之途
呼吸自由的空氣
中國就是不自由、無人權!?
世代失落
民進黨執政，人民作主
世代正反，時代光影
從漂流到定置，從瘖啞到發聲
新政治！新經濟！新文化！
國家失去了，黨也失落了
國家焦慮
書的這一扇窗
國家迷惘
未形成的都市
遞出橄欖枝，但想想︙
二、文化、文化、文化
光復
劫收；回歸
淪陷
政治意識的迷亂
在戒嚴枷鎖的裂痕求生
信仰的虛實光影
文化邏輯，經濟邏輯，政治邏輯
城市人口迷思
世界的台灣，台灣的台北
台灣夢
文言枷鎖、教育鐐銬
台獨VS.獨台
新語格、新人格
什麼時代了
東亞視野
脫迷障、脫迷惘
歷史與現實
權力秉性，政治格局
小小英VS.習大大
超級市長
國家的存在
語文教育，文化視野
政商魅影
左與右
新憲，國家出路
轉型不易，正義難彰
文化！文化！文化！
近代秩序
三、自由，作為一種價值
自治體，文化力
告密者，三腳馬
幽靈現象
權力舞台
大學之道
自由之愛
民主之夢
年假，書香
化傷痕為勳章
買台；賣台
崇毛拜蔣
侯友宜現象
褒，貶
自由，作為一種價值
轉型、正義、夢
給掌握中時光的輓歌
成也柯文哲，敗也柯文哲
看南韓、北朝，想台灣
民主化，反動現象
在殘餘國家和新生國家之間
大愛、小愛；公義、私利
站起來面對中國
筆和劍
身影
世界在改變，台灣呢？
身體與心靈
四、政治改革，文化運動
政治改革，文化運動
裝飾性頭腦!?
政治家內閣？官僚內閣？學者內閣？
恐怖情人，霸凌現象
威權遺毒，黑暗力量
三個台灣人，一種時代風景
偉大的城市？迷惘的都會？
國家之夢、文化之愛
政治狀況
運動精神
現象，價值
分進合擊，而非分道揚鑣
創意的城市，榮耀的首都
國慶的迷惘，國家的追尋
正反政治
民主的成果、自由的價值
說罪說恥，太沉重!?
花見新台中，發現新台灣
許諾新願景、召喚高雄人
綠藍紅競逐、政治黑白來
台北的選擇，台灣的考驗
迷亂共同體
迷惘的島國
院轄市迷思
共同的夢，共同的愛
一、國家之夢，文化之愛
新國家願景
軍公教現象
畫蛇添足，歹戲拖棚
國家一體，南北一體
公路主義
鐵道主義
種樹的日子
天猶未光
那一年，死滅的春天
大學失道
看看韓國，想想台灣
地域活化交通視野
回歸之路，分離之途
呼吸自由的空氣
中國就是不自由、無人權!?
世代失落
民進黨執政，人民作主
世代正反，時代光影
從漂流到定置，從瘖啞到發聲
新政治！新經濟！新文化！
國家失去了，黨也失落了
國家焦慮
書的這一扇窗
國家迷惘
未形成的都市
遞出橄欖枝，但想想︙
二、文化、文化、文化
光復
劫收；回歸
淪陷
政治意識的迷亂
在戒嚴枷鎖的裂痕求生
信仰的虛實光影
文化邏輯，經濟邏輯，政治邏輯
城市人口迷思
世界的台灣，台灣的台北
台灣夢
文言枷鎖、教育鐐銬
台獨VS.獨台
新語格、新人格
什麼時代了
東亞視野
脫迷障、脫迷惘
歷史與現實
權力秉性，政治格局
小小英VS.習大大
超級市長
國家的存在
語文教育，文化視野
政商魅影
左與右
新憲，國家出路
轉型不易，正義難彰
文化！文化！文化！
近代秩序
三、自由，作為一種價值
自治體，文化力
告密者，三腳馬
幽靈現象
權力舞台
大學之道
自由之愛
民主之夢
年假，書香
化傷痕為勳章
買台；賣台
崇毛拜蔣
侯友宜現象
褒，貶
自由，作為一種價值
轉型、正義、夢
給掌握中時光的輓歌
成也柯文哲，敗也柯文哲
看南韓、北朝，想台灣
民主化，反動現象
在殘餘國家和新生國家之間
大愛、小愛；公義、私利
站起來面對中國
筆和劍
身影
世界在改變，台灣呢？
身體與心靈
四、政治改革，文化運動
政治改革，文化運動
裝飾性頭腦!?
政治家內閣？官僚內閣？學者內閣？
恐怖情人，霸凌現象
威權遺毒，黑暗力量
三個台灣人，一種時代風景
偉大的城市？迷惘的都會？
國家之夢、文化之愛
政治狀況
運動精神
現象，價值
分進合擊，而非分道揚鑣
創意的城市，榮耀的首都
國慶的迷惘，國家的追尋
正反政治
民主的成果、自由的價值
說罪說恥，太沉重!?
花見新台中，發現新台灣
許諾新願景、召喚高雄人
綠藍紅競逐、政治黑白來
台北的選擇，台灣的考驗
迷亂共同體
迷惘的島國
院轄市迷思
序／導讀
序
共同的夢，共同的愛
《國家的夢，文化之愛》繼《文化窗景與歷史鏡像》，《尋覓家國願景》，《文明之光，國家之影》，《台灣，自由之路》，《邁向重建時代》，是我一系列自一九九九年「一個詩人的台灣守望」，二〇一七年到二〇一八年的新結集。
說時論集，因為這是我自一九九年五月起，在自由時報「鏗鏘集」，每週一篇的專欄篇章。但我以「文明批評」自我期許，是對政治、經濟、文化的廣泛視野，秉持世界畢竟朝向更文明的社會發展歷史觀，以文化之眼進行的觀照，更及台灣與世界。
人，台灣人，台灣國民，世界公民，是我的國家重建和社會改造論視野。台灣經歷日本殖民，戰後國民黨中國殖民，經由民主化，自由與人權已獲開展，但仍無法從殘餘，虛構，他者的中國流亡國家，蛻化為新生的正常國家，是什麼病理?
「一九九九年，台灣已進入總統直選，李登輝以台灣人，中國國民黨籍及他所謂特殊兩國論治理的後期，也是進入二〇〇〇年，陳水扁以台灣人，非中國國民黨籍，而是民進黨輪替執政的前夕。在台灣的中華民國自此後進入政黨輪替，一個中華民國各自表述的國家狀況。
陳水扁二連任八年政權，馬英九二連任八年政權，蔡英文再於二〇一六年，為民進黨再執政權，台灣這個不正常國家在民進黨的台灣中華民國與中國國民黨的中國中華民國，擺盪於認同分歧之間。因為國際形勢不盡支持改變現狀，加上中華人民共和國挾走資化的經濟發展情勢，台灣政治的擺盪無法因確立國家正常化而定置。一個應該只是自由、民主、人權的生活共同體無法以真變、正常、健全、國家活躍於世界。
持續每週一篇在自由時報「鏗鏘集」的專欄，成為我守望台灣的觀照和寄語，在並不真正重視文化，只重經濟的物質性，而且對政治、經濟、文化的社會性，不全面觀照的我們國度。相對於政治人物以競選為重心的政治工程，相對於企業家人物以競逐財富的經濟工程，文化並不反應在現代國民意識和生活志向，這正是國家視野未能真正形成的原因。
我的國家之夢是交織著文化之愛的。在詩與文學志業持續不輟追尋的我，之所以從一九八〇年代末開始介入時論推進，是因為深信文化才是國家的底[蘊，所謂想像共同體的國族論立基於文化構造，徒有經濟貌，沒有文化，政治體質無法選擇的競奪力提升。
經歷明治維新，但因富國強兵的船堅炮利，競逐列強之夢，導致二戰戰敗成為文化意義廢墟的日本，詩人田村隆一「國家是重要的，國家也是危險的」是我的國家觀。台灣正在國家最重要的階段，而中華人民共和國則顯示了國家是危險的階段。進入國家，然後國家無形化是我的政治視野。
被殖民的台灣人，進入「被殖民式症候群」，對自己尚未正常化的國家，無關緊要；殖民台灣的中華黨國意識論者，在「殖民症候群」未能解脫，墨守在已被推翻取代的國家名號軀殼，國家是什麼?都在迷惘之中。
以「國家之夢，文化之愛」，「文化、文化、文化」，「自由，作為一種價值」，「正治改革，文化運動」，自二〇一七年一月四日到二〇一八年十二月二十五日，從「歷經李登輝時代的不完全變革，陳水扁時代的改革中挫，蔡英文政權承擔後繼的更大責任。」是民進黨完全執政的寄語；而兩年的政治情勢發展是二〇一八年十二月下旬，九合一地方選舉，民進黨慘敗的〈迷亂共同體〉，「迷惘的島國」喟嘆。
台灣還有國家之夢嗎?為何自一九八七年解嚴，民主化運動的發展，並未能重建台灣這個國家?政治人物在「中華民國」體制競奪權力，輪替掌權，而正常真實的國家未能真正實現。期待民進黨執政、建立台灣新國家，似乎也讓支持者厭倦這種努力。現代性的國家建構，和後現代性的國家解構似乎同時存在。問題是，台灣並沒有進入真實正常國家。
生活在台灣這個某種意義上生活共同體的人們，一些人在黨國意識論者的中華民國國家體制，一些人在未真正形成的台灣國家體制。其實，兩者都存在著國民人格的病理，前者是未脫掉的舊衣裳；後者是未穿上的新衣裳，解釋這種狀況的文化力並未真正形成。國家的迷惘迷障，甚至迷失，只有共同起造建構真實正常新國家，才能去除。但是，台灣社會的文化條件並不能解決這種病理，黨國體制深化的教育和傳播馴化了幾世代人，而新起世代的國家價值未必形成。
台灣必須經由共同體意識支持的文化運動，型塑新國家，一個不分先來後到，生活在這個島嶼人們的新國家。一九八五年到一九九四年被日本殖民五十年，台灣人異於一九四五年接收。據台統治的中國人。一九四九年流亡來台的中華民國人民，到二〇一九年已七十年，中華人民共和國人民不也已認為都是台灣人嗎?
生活在台灣的人們應該有新國家的共同想像，這就是共同的國家之夢。台灣的國家之夢要有文化之愛，以文化的優質性和經濟的福祉化和豐富，提升政治民主化。台灣是一個原本有原住民在田野奔跑，從唐山來台，跨越黑水溝的福台語族，福客語族共同耕耘的島嶼，西班牙人荷蘭人區域殖民；明鄭短期王朝；清帝國治理，割讓給日本殖民五十年；二戰後國民黨中國代表接收，進佔統治，在民主化後台灣轉型追尋正常化的國家。原住民文化，古中國文化，東京化歐洲新文明的日本文化和近代中國文化是台灣文化的成分。台灣的新國家，應該是化傷痕為勳章的生活在這個國度人們的國家之夢，也是共同的願景。
共同的夢，共同的愛
《國家的夢，文化之愛》繼《文化窗景與歷史鏡像》，《尋覓家國願景》，《文明之光，國家之影》，《台灣，自由之路》，《邁向重建時代》，是我一系列自一九九九年「一個詩人的台灣守望」，二〇一七年到二〇一八年的新結集。
說時論集，因為這是我自一九九年五月起，在自由時報「鏗鏘集」，每週一篇的專欄篇章。但我以「文明批評」自我期許，是對政治、經濟、文化的廣泛視野，秉持世界畢竟朝向更文明的社會發展歷史觀，以文化之眼進行的觀照，更及台灣與世界。
人，台灣人，台灣國民，世界公民，是我的國家重建和社會改造論視野。台灣經歷日本殖民，戰後國民黨中國殖民，經由民主化，自由與人權已獲開展，但仍無法從殘餘，虛構，他者的中國流亡國家，蛻化為新生的正常國家，是什麼病理?
「一九九九年，台灣已進入總統直選，李登輝以台灣人，中國國民黨籍及他所謂特殊兩國論治理的後期，也是進入二〇〇〇年，陳水扁以台灣人，非中國國民黨籍，而是民進黨輪替執政的前夕。在台灣的中華民國自此後進入政黨輪替，一個中華民國各自表述的國家狀況。
陳水扁二連任八年政權，馬英九二連任八年政權，蔡英文再於二〇一六年，為民進黨再執政權，台灣這個不正常國家在民進黨的台灣中華民國與中國國民黨的中國中華民國，擺盪於認同分歧之間。因為國際形勢不盡支持改變現狀，加上中華人民共和國挾走資化的經濟發展情勢，台灣政治的擺盪無法因確立國家正常化而定置。一個應該只是自由、民主、人權的生活共同體無法以真變、正常、健全、國家活躍於世界。
持續每週一篇在自由時報「鏗鏘集」的專欄，成為我守望台灣的觀照和寄語，在並不真正重視文化，只重經濟的物質性，而且對政治、經濟、文化的社會性，不全面觀照的我們國度。相對於政治人物以競選為重心的政治工程，相對於企業家人物以競逐財富的經濟工程，文化並不反應在現代國民意識和生活志向，這正是國家視野未能真正形成的原因。
我的國家之夢是交織著文化之愛的。在詩與文學志業持續不輟追尋的我，之所以從一九八〇年代末開始介入時論推進，是因為深信文化才是國家的底[蘊，所謂想像共同體的國族論立基於文化構造，徒有經濟貌，沒有文化，政治體質無法選擇的競奪力提升。
經歷明治維新，但因富國強兵的船堅炮利，競逐列強之夢，導致二戰戰敗成為文化意義廢墟的日本，詩人田村隆一「國家是重要的，國家也是危險的」是我的國家觀。台灣正在國家最重要的階段，而中華人民共和國則顯示了國家是危險的階段。進入國家，然後國家無形化是我的政治視野。
被殖民的台灣人，進入「被殖民式症候群」，對自己尚未正常化的國家，無關緊要；殖民台灣的中華黨國意識論者，在「殖民症候群」未能解脫，墨守在已被推翻取代的國家名號軀殼，國家是什麼?都在迷惘之中。
以「國家之夢，文化之愛」，「文化、文化、文化」，「自由，作為一種價值」，「正治改革，文化運動」，自二〇一七年一月四日到二〇一八年十二月二十五日，從「歷經李登輝時代的不完全變革，陳水扁時代的改革中挫，蔡英文政權承擔後繼的更大責任。」是民進黨完全執政的寄語；而兩年的政治情勢發展是二〇一八年十二月下旬，九合一地方選舉，民進黨慘敗的〈迷亂共同體〉，「迷惘的島國」喟嘆。
台灣還有國家之夢嗎?為何自一九八七年解嚴，民主化運動的發展，並未能重建台灣這個國家?政治人物在「中華民國」體制競奪權力，輪替掌權，而正常真實的國家未能真正實現。期待民進黨執政、建立台灣新國家，似乎也讓支持者厭倦這種努力。現代性的國家建構，和後現代性的國家解構似乎同時存在。問題是，台灣並沒有進入真實正常國家。
生活在台灣這個某種意義上生活共同體的人們，一些人在黨國意識論者的中華民國國家體制，一些人在未真正形成的台灣國家體制。其實，兩者都存在著國民人格的病理，前者是未脫掉的舊衣裳；後者是未穿上的新衣裳，解釋這種狀況的文化力並未真正形成。國家的迷惘迷障，甚至迷失，只有共同起造建構真實正常新國家，才能去除。但是，台灣社會的文化條件並不能解決這種病理，黨國體制深化的教育和傳播馴化了幾世代人，而新起世代的國家價值未必形成。
台灣必須經由共同體意識支持的文化運動，型塑新國家，一個不分先來後到，生活在這個島嶼人們的新國家。一九八五年到一九九四年被日本殖民五十年，台灣人異於一九四五年接收。據台統治的中國人。一九四九年流亡來台的中華民國人民，到二〇一九年已七十年，中華人民共和國人民不也已認為都是台灣人嗎?
生活在台灣的人們應該有新國家的共同想像，這就是共同的國家之夢。台灣的國家之夢要有文化之愛，以文化的優質性和經濟的福祉化和豐富，提升政治民主化。台灣是一個原本有原住民在田野奔跑，從唐山來台，跨越黑水溝的福台語族，福客語族共同耕耘的島嶼，西班牙人荷蘭人區域殖民；明鄭短期王朝；清帝國治理，割讓給日本殖民五十年；二戰後國民黨中國代表接收，進佔統治，在民主化後台灣轉型追尋正常化的國家。原住民文化，古中國文化，東京化歐洲新文明的日本文化和近代中國文化是台灣文化的成分。台灣的新國家，應該是化傷痕為勳章的生活在這個國度人們的國家之夢，也是共同的願景。
週末照例是舉辦新書發表會或分享會的日子
一律不休
今天有空的朋友歡迎來228國家紀念館
參加李敏勇老師的
國家之夢 文化之愛 系列講座第一場
[之後還有屏東場 高雄場 和台中場]
一律不休
今天有空的朋友歡迎來228國家紀念館
參加李敏勇老師的
國家之夢 文化之愛 系列講座第一場
[之後還有屏東場 高雄場 和台中場]
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